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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
New photo of bluesman Robert Johnson unearthed; only third photo in existence – SFGate
http://www.jazzpromoservices.com/
http://www.sfgate.com/entertainment/music/article/New-photo-of-bluesman-Robert-Johnson-unearthed-6703035.php
** New photo of bluesman Robert Johnson unearthed; only third photo in existence
————————————————————
By Dylan Baddour (http://www.sfgate.com/author/dylan-baddour/)
Published 10:36 am, Thursday, December 17, 2015
*
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* 22
*
*
*
*
*
*
*
*
*
*
*
*
*
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
IMAGE 9OF 23
Eric Clapton
“Cross Road Blues,” “Walkin’ Blues,” “”Come On in My Kitchen,” “Little Queen of Spades,” “Preachin’ Blues,” “Last Fair Deal Gone Down,” “If I Had Possession Over Judgment Day,” “Hell Hound on My Trail,” “When You Got a Good Friend”, “Kind Hearted Woman Blues,” “Milckcow’s Calf Blues,” “From Four Until Late,” “”Love in Vain,” “They’re Red Hot,” “32-20 Blues”
*Also performed several songs with band Cream
IMAGE 1 OF 23
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
A newly-analyzed photo purportedly shows Robert Johnson, the mysterious blues legend whose meager recordings became a groundwork for American popular music.
Only two such photos have been unequivocally confirmed, and the prospect of another is held as a holy grail in blues society.
Johnson was an influential early blues singer and guitarist whose songs have been covered by the likes of The Rolling Stones, Eric Clapton, Led Zeppelin, The White Stripes, Fleetwood Mac and countless others. He also infamously is alleged to have made a deal with the devil, who personally tuned Johnson’s guitar at a crossroads in Mississippi, thus giving him his extraordinary guitar skills in exchange for his soul.
Musicians perform Robert Johnson’s “Love in Vain” 75 years later
Dallas Morning News
He wandered the South and earned acclaim picking guitar tunes, but he made just two recordings—in San Antonio in 1936 and in Dallas in 1937 (https://tshaonline.org/handbook/online/articles/fjoaz) .
The identification comes from Lois Gibson (http://www.loisgibson.com/) , award-winning forensic artist for the Houston Police Department and professional analyst of historical photographs. She also announced identification of a Johnson photo in 2008; that one was accepted by the Johnson estate but widely contested (http://www.theguardian.com/music/2015/may/23/robert-johnson-photo-does-not-show-blues-legend-music-experts-say) by blues historians.
RELATED: Lois Gibson identifies photo of the outlaw Jesse James (http://www.chron.com/national/article/Lost-photo-of-Jesse-James-assassin-Robert-Ford-6540749.php)
The new photograph turned up in an antique Winthrop desk, filled with odds and ends, bought in a 2013 auction by Donald Roark, a 64-year-old retired lawyer and professor in Pensacola, Florida.
In a cluttered draw was a three-by-five inch photo of four people seated at a public table, the man in question on the left.
“I guess it was because of the hat,” Roark said, recalling his first glimpse of the picture, and his memory of the photo cover of the Robert Johnson album he owns. “I chuckled and thought that guy kind of looks like Robert Johnson.”
When he asked his wife who the man looked like, she said Robert Johnson. He sat on the suspicion for two years, until reaching out to Gibson’s manager online for a professional take on the photograph.
It was one of the five-or-so requests for a photo identification Gibson gets each month, she said.
“Ninety-nine percent of them I look at and well, I don’t laugh in their face, but I shrug it off,” she said.
RELATED: Mississippi-born blues belong to all the world (http://www.houstonchronicle.com/entertainment/columnists/dansby/article/Mississippi-born-blues-belong-to-all-the-world-6231071.php?t=04c8cea1e9&cmpid=twitter-premium)
But the purported Johnson photo gave her pause. Gibson, who spent the last three decades analyzing and reconstructing faces, said she recognized Johnson’s face. But the scene offered further evidence—three people who Gibson identified as known acquaintances of Johnson: Calletta Craft, Johnson’s wife from 1931, who bears a marked eye condition; Estella Coleman, who housed Johnson since 1933; and her son Robert Lockwood Jr.
That crowd would set the purported image in the mid 1930s, before Johnson made a name as a nomadic guitar player and blues singer, and before was afforded the privilege to record.
Two years after his first session, Johnson died in 1938 at age 27 (making him the first great musician in the notable company of the “27 Club,” alongside Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison and Kurt Cobain).
RELATED: A musical tour through the South (http://www.chron.com/entertainment/columnists/dansby/slideshow/A-musical-tour-through-the-South-115895/photo-1499594.php)
But his enduring sound, captured in Texas studios, helped motivate music for decades to come with its eerie invocations of the devil. His sound famously inspired the young ensemble that would become the Rolling Stones. The Washington Post reported in 2011 there are 30 records with at least one cover of a Johnson song on them that have sold more than a million copies.
Because of Johnson’s mysterious legacy, blues scholars are eternally skeptical of the emergence of new photos. A May 2015 article in Texas Monthly (http://www.texasmonthly.com/the-daily-post/49-experts-agree-that-third-photo-of-robert-johnson-is-not-authentic/) evoked a purported Johnson image—confirmed as the image currently in question–which scholars swiftly dismissed.
But Gibson, who won a Guiness World Record for most successful forensic artist, said that historical scholars are not qualified to make those assertions about photographs.
“These blues people are not specialists in facial structure. I am,” she said. “They would not know a superciliary arch from a philtrum.”
With only two sure photos of Johnson, shot in studio and documented at the time, a broad consensus on the authenticity of the newly-surfaced photo is unlikely.
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=066ff54f89) | 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=066ff54f89&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
New photo of bluesman Robert Johnson unearthed; only third photo in existence – SFGate
http://www.jazzpromoservices.com/
http://www.sfgate.com/entertainment/music/article/New-photo-of-bluesman-Robert-Johnson-unearthed-6703035.php
** New photo of bluesman Robert Johnson unearthed; only third photo in existence
————————————————————
By Dylan Baddour (http://www.sfgate.com/author/dylan-baddour/)
Published 10:36 am, Thursday, December 17, 2015
*
*
* 22
*
*
*
*
*
*
*
*
*
*
*
*
*
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
IMAGE 9OF 23
Eric Clapton
“Cross Road Blues,” “Walkin’ Blues,” “”Come On in My Kitchen,” “Little Queen of Spades,” “Preachin’ Blues,” “Last Fair Deal Gone Down,” “If I Had Possession Over Judgment Day,” “Hell Hound on My Trail,” “When You Got a Good Friend”, “Kind Hearted Woman Blues,” “Milckcow’s Calf Blues,” “From Four Until Late,” “”Love in Vain,” “They’re Red Hot,” “32-20 Blues”
*Also performed several songs with band Cream
IMAGE 1 OF 23
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
A newly-analyzed photo purportedly shows Robert Johnson, the mysterious blues legend whose meager recordings became a groundwork for American popular music.
Only two such photos have been unequivocally confirmed, and the prospect of another is held as a holy grail in blues society.
Johnson was an influential early blues singer and guitarist whose songs have been covered by the likes of The Rolling Stones, Eric Clapton, Led Zeppelin, The White Stripes, Fleetwood Mac and countless others. He also infamously is alleged to have made a deal with the devil, who personally tuned Johnson’s guitar at a crossroads in Mississippi, thus giving him his extraordinary guitar skills in exchange for his soul.
Musicians perform Robert Johnson’s “Love in Vain” 75 years later
Dallas Morning News
He wandered the South and earned acclaim picking guitar tunes, but he made just two recordings—in San Antonio in 1936 and in Dallas in 1937 (https://tshaonline.org/handbook/online/articles/fjoaz) .
The identification comes from Lois Gibson (http://www.loisgibson.com/) , award-winning forensic artist for the Houston Police Department and professional analyst of historical photographs. She also announced identification of a Johnson photo in 2008; that one was accepted by the Johnson estate but widely contested (http://www.theguardian.com/music/2015/may/23/robert-johnson-photo-does-not-show-blues-legend-music-experts-say) by blues historians.
RELATED: Lois Gibson identifies photo of the outlaw Jesse James (http://www.chron.com/national/article/Lost-photo-of-Jesse-James-assassin-Robert-Ford-6540749.php)
The new photograph turned up in an antique Winthrop desk, filled with odds and ends, bought in a 2013 auction by Donald Roark, a 64-year-old retired lawyer and professor in Pensacola, Florida.
In a cluttered draw was a three-by-five inch photo of four people seated at a public table, the man in question on the left.
“I guess it was because of the hat,” Roark said, recalling his first glimpse of the picture, and his memory of the photo cover of the Robert Johnson album he owns. “I chuckled and thought that guy kind of looks like Robert Johnson.”
When he asked his wife who the man looked like, she said Robert Johnson. He sat on the suspicion for two years, until reaching out to Gibson’s manager online for a professional take on the photograph.
It was one of the five-or-so requests for a photo identification Gibson gets each month, she said.
“Ninety-nine percent of them I look at and well, I don’t laugh in their face, but I shrug it off,” she said.
RELATED: Mississippi-born blues belong to all the world (http://www.houstonchronicle.com/entertainment/columnists/dansby/article/Mississippi-born-blues-belong-to-all-the-world-6231071.php?t=04c8cea1e9&cmpid=twitter-premium)
But the purported Johnson photo gave her pause. Gibson, who spent the last three decades analyzing and reconstructing faces, said she recognized Johnson’s face. But the scene offered further evidence—three people who Gibson identified as known acquaintances of Johnson: Calletta Craft, Johnson’s wife from 1931, who bears a marked eye condition; Estella Coleman, who housed Johnson since 1933; and her son Robert Lockwood Jr.
That crowd would set the purported image in the mid 1930s, before Johnson made a name as a nomadic guitar player and blues singer, and before was afforded the privilege to record.
Two years after his first session, Johnson died in 1938 at age 27 (making him the first great musician in the notable company of the “27 Club,” alongside Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison and Kurt Cobain).
RELATED: A musical tour through the South (http://www.chron.com/entertainment/columnists/dansby/slideshow/A-musical-tour-through-the-South-115895/photo-1499594.php)
But his enduring sound, captured in Texas studios, helped motivate music for decades to come with its eerie invocations of the devil. His sound famously inspired the young ensemble that would become the Rolling Stones. The Washington Post reported in 2011 there are 30 records with at least one cover of a Johnson song on them that have sold more than a million copies.
Because of Johnson’s mysterious legacy, blues scholars are eternally skeptical of the emergence of new photos. A May 2015 article in Texas Monthly (http://www.texasmonthly.com/the-daily-post/49-experts-agree-that-third-photo-of-robert-johnson-is-not-authentic/) evoked a purported Johnson image—confirmed as the image currently in question–which scholars swiftly dismissed.
But Gibson, who won a Guiness World Record for most successful forensic artist, said that historical scholars are not qualified to make those assertions about photographs.
“These blues people are not specialists in facial structure. I am,” she said. “They would not know a superciliary arch from a philtrum.”
With only two sure photos of Johnson, shot in studio and documented at the time, a broad consensus on the authenticity of the newly-surfaced photo is unlikely.
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=066ff54f89) | 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=066ff54f89&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
New photo of bluesman Robert Johnson unearthed; only third photo in existence – SFGate
http://www.jazzpromoservices.com/
http://www.sfgate.com/entertainment/music/article/New-photo-of-bluesman-Robert-Johnson-unearthed-6703035.php
** New photo of bluesman Robert Johnson unearthed; only third photo in existence
————————————————————
By Dylan Baddour (http://www.sfgate.com/author/dylan-baddour/)
Published 10:36 am, Thursday, December 17, 2015
*
*
* 22
*
*
*
*
*
*
*
*
*
*
*
*
*
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
IMAGE 9OF 23
Eric Clapton
“Cross Road Blues,” “Walkin’ Blues,” “”Come On in My Kitchen,” “Little Queen of Spades,” “Preachin’ Blues,” “Last Fair Deal Gone Down,” “If I Had Possession Over Judgment Day,” “Hell Hound on My Trail,” “When You Got a Good Friend”, “Kind Hearted Woman Blues,” “Milckcow’s Calf Blues,” “From Four Until Late,” “”Love in Vain,” “They’re Red Hot,” “32-20 Blues”
*Also performed several songs with band Cream
IMAGE 1 OF 23
This photo, found in an antique auction desk in Florida in 2013, is purported to show American blues legend Robert Johnson (left), according to Lois Gibson, an award-winning forensic artist and facial analyst in Houston.
A newly-analyzed photo purportedly shows Robert Johnson, the mysterious blues legend whose meager recordings became a groundwork for American popular music.
Only two such photos have been unequivocally confirmed, and the prospect of another is held as a holy grail in blues society.
Johnson was an influential early blues singer and guitarist whose songs have been covered by the likes of The Rolling Stones, Eric Clapton, Led Zeppelin, The White Stripes, Fleetwood Mac and countless others. He also infamously is alleged to have made a deal with the devil, who personally tuned Johnson’s guitar at a crossroads in Mississippi, thus giving him his extraordinary guitar skills in exchange for his soul.
Musicians perform Robert Johnson’s “Love in Vain” 75 years later
Dallas Morning News
He wandered the South and earned acclaim picking guitar tunes, but he made just two recordings—in San Antonio in 1936 and in Dallas in 1937 (https://tshaonline.org/handbook/online/articles/fjoaz) .
The identification comes from Lois Gibson (http://www.loisgibson.com/) , award-winning forensic artist for the Houston Police Department and professional analyst of historical photographs. She also announced identification of a Johnson photo in 2008; that one was accepted by the Johnson estate but widely contested (http://www.theguardian.com/music/2015/may/23/robert-johnson-photo-does-not-show-blues-legend-music-experts-say) by blues historians.
RELATED: Lois Gibson identifies photo of the outlaw Jesse James (http://www.chron.com/national/article/Lost-photo-of-Jesse-James-assassin-Robert-Ford-6540749.php)
The new photograph turned up in an antique Winthrop desk, filled with odds and ends, bought in a 2013 auction by Donald Roark, a 64-year-old retired lawyer and professor in Pensacola, Florida.
In a cluttered draw was a three-by-five inch photo of four people seated at a public table, the man in question on the left.
“I guess it was because of the hat,” Roark said, recalling his first glimpse of the picture, and his memory of the photo cover of the Robert Johnson album he owns. “I chuckled and thought that guy kind of looks like Robert Johnson.”
When he asked his wife who the man looked like, she said Robert Johnson. He sat on the suspicion for two years, until reaching out to Gibson’s manager online for a professional take on the photograph.
It was one of the five-or-so requests for a photo identification Gibson gets each month, she said.
“Ninety-nine percent of them I look at and well, I don’t laugh in their face, but I shrug it off,” she said.
RELATED: Mississippi-born blues belong to all the world (http://www.houstonchronicle.com/entertainment/columnists/dansby/article/Mississippi-born-blues-belong-to-all-the-world-6231071.php?t=04c8cea1e9&cmpid=twitter-premium)
But the purported Johnson photo gave her pause. Gibson, who spent the last three decades analyzing and reconstructing faces, said she recognized Johnson’s face. But the scene offered further evidence—three people who Gibson identified as known acquaintances of Johnson: Calletta Craft, Johnson’s wife from 1931, who bears a marked eye condition; Estella Coleman, who housed Johnson since 1933; and her son Robert Lockwood Jr.
That crowd would set the purported image in the mid 1930s, before Johnson made a name as a nomadic guitar player and blues singer, and before was afforded the privilege to record.
Two years after his first session, Johnson died in 1938 at age 27 (making him the first great musician in the notable company of the “27 Club,” alongside Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison and Kurt Cobain).
RELATED: A musical tour through the South (http://www.chron.com/entertainment/columnists/dansby/slideshow/A-musical-tour-through-the-South-115895/photo-1499594.php)
But his enduring sound, captured in Texas studios, helped motivate music for decades to come with its eerie invocations of the devil. His sound famously inspired the young ensemble that would become the Rolling Stones. The Washington Post reported in 2011 there are 30 records with at least one cover of a Johnson song on them that have sold more than a million copies.
Because of Johnson’s mysterious legacy, blues scholars are eternally skeptical of the emergence of new photos. A May 2015 article in Texas Monthly (http://www.texasmonthly.com/the-daily-post/49-experts-agree-that-third-photo-of-robert-johnson-is-not-authentic/) evoked a purported Johnson image—confirmed as the image currently in question–which scholars swiftly dismissed.
But Gibson, who won a Guiness World Record for most successful forensic artist, said that historical scholars are not qualified to make those assertions about photographs.
“These blues people are not specialists in facial structure. I am,” she said. “They would not know a superciliary arch from a philtrum.”
With only two sure photos of Johnson, shot in studio and documented at the time, a broad consensus on the authenticity of the newly-surfaced photo is unlikely.
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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Nick’s Tavern, the Jazz Joint That Went Down Swinging
http://www.jazzpromoservices.com/
http://bedfordandbowery.com/2015/12/nicks-tavern-the-village-jazz-joint-that-went-down-swinging/
** Nick’s Tavern, the Jazz Joint That Went Down Swinging
————————————————————
DECEMBER 25, 2015 BY KATIE WHITTAKER
This week and next, we present a series of longer pieces unraveling the histories of storied buildings.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Nicks-Postcard.jpg
When Dick Hyman — “a living, breathing encyclopedia of jazz,” per NPR (http://www.npr.org/sections/ablogsupreme/2012/03/06/148056206/dick-hyman-a-living-breathing-encyclopedia-of-jazz) – was a Columbia student, he’d often travel to 7th Avenue and 10th Street in Greenwich Village to catch a glimpse of his heroes playing. Although there were plenty of jazz joints in the neighborhood, the place he loved most was Nick’s Tavern.
“I recall a big place, moose head on the wall, dark wood, and a bar where you could stand with your beer or Coke (I never graduated to anything stronger),” he wrote in Piano Today. “A grand piano rested on the raised bandstand, while two little uprights sat floor-level in front.”
Among those who graced the bandstand was trumpeter Chelsea Quealy, who seemed to Hyman and his buddies to be “the very embodiment of the hard-bitten jazzman.” Hyman recalled an exchange with him: “One of us summoned up all his teenage bravado and asked ironically, ‘How’s the music business?’ Quealy spat on the floor in response. We all felt this was a proper answer, although he didn’t seem to be happy playing the good music either.”
Fifty-four years after Nick’s closed, Hyman still remembers how important the jazz club was to him. “We were real fans of this, we believed that it was the truth, and anything else was more or less phony or an imitation and not the real thing,” he said in a phone interview last month.
In an essay (http://riverwalkjazz.stanford.edu/bonus-content/getting-nicks) in Riverwalk Jazz, Rod Jellema remembered Nick’s as a place “where suffering jazzmen, holding their own against the cheap commercialization of the big bands, could give honest expression to their deepest feelings. That’s the way I thought of them: martyrs to their high calling, misunderstood by the vast public, whether they were blowing the roof off with ‘That’s a Plenty,’ or dredging slowly the soulful blues of ‘Nobody Knows You When You’re Down and Out.’”
Johnny Varro used to work at Nick’s as a pianist for one of the two bands, and considers the place an institution, and a “real jazz house”: “Musicians used to clamor in there who weren’t working in the club just to hear the music or sit in.” He remembers the kitchen’s specialty: “You could hardly see the bandstand sometimes with those sizzling steaks.” And, of course, the signature wall décor: “We used to put lit cigarettes in the mouths of the moose heads, which would drive the maitre d’s crazy.”
When Nick Rongetti opened his eponymous place in 1922 (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) on 140 Seventh Avenue South, it was his fifth attempt at a jazz club in New York. Around this time, jazz clubs and bars were mostly located on 52nd Street (http://www.pbs.org/jazz/places/places_new_york.htm) in Manhattan. Prohibition-era speakeasies on this street transitioned to jazz clubs after the repeal, but after that, jazz began to filter downtown to Greenwich Village.
Rongetti is often remembered for his “devotion (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) ” to jazz, particularly Dixieland, a style that came from New Orleans and became so closely related to Nick’s that the New York Times called it “Nicksieland (http://query.nytimes.com/mem/archive-free/pdf?res=9900E1DC1130E631A25751C1A9649C946890D6CF) .” Equally famous were the venue’s jam sessions. Another Times article (http://query.nytimes.com/mem/archive/pdf?res=9E04EEDA1330E53BBC4D53DFB4678388659EDE) said, “The meetings have been going on regularly for seven years and they have become an institution.” There was no printed music, and the sessions were noted for the fact that there were “no rules.”
Even Rongetti played. He “would occasionally sit down and play along with the intermission pianist named Cliff Jackson,” said Hyman. “That was the feature, the band played, and then the one or two pianists would play intermissions.”
But Rongetti’s passion couldn’t keep Nick’s alive. It closed the week of August 10, 1963, to the surprise to the club’s regulars. Hyman said that he didn’t know why it closed. “Certainly there were changing styles, and that was no longer the central kind of jazz after a while.” But the media at the time did not seem to believe that stylistic changes were entirely to blame. One Times article (http://query.nytimes.com/mem/archive/pdf?res=9F01E3DD1431E73BBC4852DFBE668388679EDE) said that “the closing of Nick’s cannot be attributed solely to a decline in the popularity of Dixieland. Problems of night-club management were a factor.”
The article also said, “After 27 years of making jazz history, the Greenwich Village landmark closed its doors Saturday night. With scarcely any public attention, the final chorus of ‘Tin Roof Blues’ blared out and the neon message ‘Sizzling Steaks’ went dark.”
Nick’s was the first notable venue to open on that corner of 7th Avenue. The club itself was built onto a drug storage facility, so bathrooms and a kitchen had to be added to make it a space that, as the Department of Buildings indicated, became an “eating and drinking place without restrictions on entertainment.”
While Greenwich Village is typically thought of as a part of Manhattan that has gone unchanged for years, it actually underwent major construction (http://forgotten-ny.com/1999/09/greenwich-village-necrology/) in 1914 for 7th Avenue’s extension. The avenue was extended because the city was building the 7th Avenue subway line, and thanks to eminent domain (http://cityroom.blogs.nytimes.com/2009/04/17/answers-about-the-history-of-manhattan-part-3/?_r=0) , many of the properties in the West Village were affected, cut into triangular blocks. On 10th Street, the block had been rectangular, but this extension cut the northwest corner off and created the irregular shape that became a hallmark for the later occupants.
http://bedfordandbowery.com/wp-content/uploads/2015/12/nypl.digitalcollections.Plate-59-1857-1862.jpg
In the 1800s and early 1900s, Manhattan tax maps show that the lot was actually used as a storage space. In the illustrations, it appears as a blank white section surrounded by other smaller spaces listed as residential buildings. It isn’t until 1916 that the map appears with a label: “drug storage.”
But perhaps the most iconic element of Greenwich Village comes from the streets, which deviate noticeably from the strict grid structure that dominates much of Manhattan. This also comes from the early 1800s, when cholera and yellow fever outbreaks attacked the city. In the book (https://books.google.com/books?id=fBNAbmUKj8AC&pg=PA6&lpg=PA6&dq=cholera+outbreak+greenwich+village+new+york&source=bl&ots=_pMJUgZawD&sig=MGfAqYnnVvuR3p6o2nNVDNjA-o8&hl=en&sa=X&ved=0ahUKEwjR5vTNicDJAhXKqR4KHdQgDSAQ6AEIPzAG#v=onepage&q=cholera%20outbreak%20greenwich%20village%20new%20york&f=false) Greenwich Village Catholics: St. Joseph’s Church and the Evolution of an Urban Faith Community, 1829-2002, the neighborhood is described as a “favorite refuge for better-off New Yorkers.” Author Thomas J. Shelley said those who could afford to go to Greenwich Village built temporary homes, which were dismantled when it was deemed safe to return.
A New York Times article (http://www.nytimes.com/2008/04/15/science/15chol.html?pagewanted=all&_r=0) also outlines the importance disease had in shaping the neighborhood and the Village’s role as a refuge: “People were squeezed out of the lower wards by the influx of immigrants. Some, escaping earlier outbreaks of malaria and yellow fever, had sought a haven in the clean air and open land of the village called Greenwich.” A medical pamphlet written during the outbreak indicates that the virus was not well-understood by medical professionals, so escape was the best option. In fact, one chart from the time period shows that Greenwich Village, then known as the 9th Ward, had one of the lowest fatality rates in the city during the cholera epidemic.
In its earliest history, 10th Street was called Amos Street, named after Richard Amos, who received the land from Peter Warren, whose farm extended over this part of Greenwich in the late 1700s. Stokes’ The Iconography of Manhattan Island points out that Warren’s farm included three other smaller villages, and says that Warren acquired the land between June of 1731 and September of 1744. There’s a description of Warren in Bruno’s Weekly (http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaaq19160108-01.2.3&e=——-en-20–1–txt-IN—–) : “FLYING his flag aboard the Launceston, commanding on the station, and making such a brave show with his captured ships, Captain—by courtesy Commodore—Warren cut a prodigiously fine figure here in New York about the year of grace 1744; so fine, indeed, that never a man in the whole Province could be compared with him in dignity save only the Governor himself.”
* * *
After Nick’s was closed, it quickly transitioned to a different jazz club – this one called Your Father’s Mustache. One of the first stories I remember hearing about my dad’s childhood happened in this club. It was his 16th birthday, and his father, his best friend Dave, and Dave’s dad went from his home in New Jersey to Manhattan for a night on the town. “Greenwich Village at that time was a hotspot for younger people. We had been there a bunch of times. You could drink at 18 there, but not in New Jersey, so it was a rite of passage to go from Jersey to New York City. It had been like that even when PopPop was a kid,” my dad told me, referring to my grandfather.
The story involved the Playboy Club and a theater where the four of them saw the Fugs (http://www.thefugs.com/) , but the part that sticks out the most was his trip to Your Father’s Mustache. He said all he remembered was that the inside was red and white, and all the waiters wore straw hats and a red and white outfit. That and the fact that he had to use his fake ID in front of his father to get in the door for a few drinks.
Just a year after Nick’s closed, Your Father’s Mustache was bought by Joel Schiavone, a man whose answering machine currently says, “Make sure this is a happy, optimistic message — I could use some good news.” A graduate of Harvard business school, Schiavone had been to the club once when it was Nick’s, and he left some elements of décor but added the distinctive elements that my dad remembered, including red walls, gilded frames, and the name on the front.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Your-Fathers-Mustache.jpg
This was not Schiavone’s first bar. He also had locations in Boston and Cape Cod, both of which had previously been named the Red Garter. Schiavone told me that after a contest, they changed the name to Your Father’s Mustache, and he opened “another eight or nine clubs all over the world.”
But the old Nick’s crowd was left out as Your Father’s Mustache embraced a new musical style and a new demographic. Heyman told me that Your Father’s Mustache wouldn’t have interested him. “I never visited it at all. The taste was different – they wouldn’t have had the old guard of my heroes there, if they even had traditional Dixieland at all.”
In 1976, Your Father’s Mustache also closed. Schiavone said he rented the space, and after he left, it was sold to “a gentleman for his wife to sing in.” This gentleman was Alfredo Viazzi, who owned several other restaurants throughout the city. This one was called Alfredo’s Settebello, and his wife was Jane White (http://www.nytimes.com/2011/08/08/arts/jane-white-actress-and-singer-who-rebelled-against-racial-straitjacketing-dies-at-88.html?_r=0) , a woman who challenged racial stereotypes. When Viazzi took over the space, he found himself (http://query.nytimes.com/mem/archive/pdf?res=9B0DE6DA1E3AEF33A25757C0A9609C946790D6CF) “[d]igging out of about 35 years of filth and neglect and removing 400 pounds of peanut shells left behind by Your Father’s Mustache.” He gave away eight moose heads and kept two Tiffany lampshades for himself.
The club was only open a year, and the cabaret theme was not White’s specialty – typically she acted in Shakespeare plays. Viazzi had one more venture in the 7th Avenue lot. According to New York magazine (https://books.google.com/books?id=1tcCAAAAMBAJ&pg=PA81&lpg=PA81&dq=alfredo+settebello+closing&source=bl&ots=3XRI5phKR2&sig=nGg7AGVmZcH66uZRi0k4wtKuBrA&hl=en&sa=X&ved=0ahUKEwiEoKuzwKTJAhUE7iYKHbH9B1QQ6AEIOzAF#v=onepage&q=alfredo%20settebello%20closing&f=false) , he opened the disco club Gable, which was owned by the same management as nearby club Limelight. The lot sat vacant for a few years before its final transition.
When I asked Schiavone what happened after Your Father’s Mustache, he said, “It was a great old club. I don’t know why they tore it down, it was in a historic district, so they weren’t allowed to tear it down but now it’s gone.” The building is specifically included in the New York City Landmarks Preservation Commission Designation Report (http://www.nyc.gov/html/lpc/downloads/pdf/reports/GV.pdf) : “This large one-story nightclub occupies a corner building which was built in 1923 for John Wyeth & Bro., Inc., and was designed by John E. Nitchie. It represents a very recent remodeling in a ‘Gay Nineties’ theme…In its place sits an enormous multi-story building.” In Greenwich Village and How it Got that Way , author Terry Miller said that “[a]fter several derelict years, the building vanished almost overnight in January 1989, and its wedge-shaped plot was cleared for development.”
Today, the Gourmet Garage’s storefront spans nearly the whole length of the block, its red letters a glaring reminder of what the space is now. On the top floor sits a New York Sports Club, its glass windows allowing gym-goers to watch pedestrians on the street below. Even though the iconic space has disappeared, relics of the jazz period still exist. The Village Vanguard and Julius’ still sit in Greenwich Village, evidence of a time before large-scale bargain grocery stores and glossy high-rise apartment buildings.
“It was the end of an era,” said Schiavone. “Rock and roll and drugs came into vogue and people left us behind.” While some Greenwich Village jazz spots live on, the neighborhood will never be exactly what it was at the height of jazz in New York, and the old jazz guys will always miss those days. “The world changed. The whole world changed.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Nick’s Tavern, the Jazz Joint That Went Down Swinging
http://www.jazzpromoservices.com/
http://bedfordandbowery.com/2015/12/nicks-tavern-the-village-jazz-joint-that-went-down-swinging/
** Nick’s Tavern, the Jazz Joint That Went Down Swinging
————————————————————
DECEMBER 25, 2015 BY KATIE WHITTAKER
This week and next, we present a series of longer pieces unraveling the histories of storied buildings.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Nicks-Postcard.jpg
When Dick Hyman — “a living, breathing encyclopedia of jazz,” per NPR (http://www.npr.org/sections/ablogsupreme/2012/03/06/148056206/dick-hyman-a-living-breathing-encyclopedia-of-jazz) – was a Columbia student, he’d often travel to 7th Avenue and 10th Street in Greenwich Village to catch a glimpse of his heroes playing. Although there were plenty of jazz joints in the neighborhood, the place he loved most was Nick’s Tavern.
“I recall a big place, moose head on the wall, dark wood, and a bar where you could stand with your beer or Coke (I never graduated to anything stronger),” he wrote in Piano Today. “A grand piano rested on the raised bandstand, while two little uprights sat floor-level in front.”
Among those who graced the bandstand was trumpeter Chelsea Quealy, who seemed to Hyman and his buddies to be “the very embodiment of the hard-bitten jazzman.” Hyman recalled an exchange with him: “One of us summoned up all his teenage bravado and asked ironically, ‘How’s the music business?’ Quealy spat on the floor in response. We all felt this was a proper answer, although he didn’t seem to be happy playing the good music either.”
Fifty-four years after Nick’s closed, Hyman still remembers how important the jazz club was to him. “We were real fans of this, we believed that it was the truth, and anything else was more or less phony or an imitation and not the real thing,” he said in a phone interview last month.
In an essay (http://riverwalkjazz.stanford.edu/bonus-content/getting-nicks) in Riverwalk Jazz, Rod Jellema remembered Nick’s as a place “where suffering jazzmen, holding their own against the cheap commercialization of the big bands, could give honest expression to their deepest feelings. That’s the way I thought of them: martyrs to their high calling, misunderstood by the vast public, whether they were blowing the roof off with ‘That’s a Plenty,’ or dredging slowly the soulful blues of ‘Nobody Knows You When You’re Down and Out.’”
Johnny Varro used to work at Nick’s as a pianist for one of the two bands, and considers the place an institution, and a “real jazz house”: “Musicians used to clamor in there who weren’t working in the club just to hear the music or sit in.” He remembers the kitchen’s specialty: “You could hardly see the bandstand sometimes with those sizzling steaks.” And, of course, the signature wall décor: “We used to put lit cigarettes in the mouths of the moose heads, which would drive the maitre d’s crazy.”
When Nick Rongetti opened his eponymous place in 1922 (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) on 140 Seventh Avenue South, it was his fifth attempt at a jazz club in New York. Around this time, jazz clubs and bars were mostly located on 52nd Street (http://www.pbs.org/jazz/places/places_new_york.htm) in Manhattan. Prohibition-era speakeasies on this street transitioned to jazz clubs after the repeal, but after that, jazz began to filter downtown to Greenwich Village.
Rongetti is often remembered for his “devotion (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) ” to jazz, particularly Dixieland, a style that came from New Orleans and became so closely related to Nick’s that the New York Times called it “Nicksieland (http://query.nytimes.com/mem/archive-free/pdf?res=9900E1DC1130E631A25751C1A9649C946890D6CF) .” Equally famous were the venue’s jam sessions. Another Times article (http://query.nytimes.com/mem/archive/pdf?res=9E04EEDA1330E53BBC4D53DFB4678388659EDE) said, “The meetings have been going on regularly for seven years and they have become an institution.” There was no printed music, and the sessions were noted for the fact that there were “no rules.”
Even Rongetti played. He “would occasionally sit down and play along with the intermission pianist named Cliff Jackson,” said Hyman. “That was the feature, the band played, and then the one or two pianists would play intermissions.”
But Rongetti’s passion couldn’t keep Nick’s alive. It closed the week of August 10, 1963, to the surprise to the club’s regulars. Hyman said that he didn’t know why it closed. “Certainly there were changing styles, and that was no longer the central kind of jazz after a while.” But the media at the time did not seem to believe that stylistic changes were entirely to blame. One Times article (http://query.nytimes.com/mem/archive/pdf?res=9F01E3DD1431E73BBC4852DFBE668388679EDE) said that “the closing of Nick’s cannot be attributed solely to a decline in the popularity of Dixieland. Problems of night-club management were a factor.”
The article also said, “After 27 years of making jazz history, the Greenwich Village landmark closed its doors Saturday night. With scarcely any public attention, the final chorus of ‘Tin Roof Blues’ blared out and the neon message ‘Sizzling Steaks’ went dark.”
Nick’s was the first notable venue to open on that corner of 7th Avenue. The club itself was built onto a drug storage facility, so bathrooms and a kitchen had to be added to make it a space that, as the Department of Buildings indicated, became an “eating and drinking place without restrictions on entertainment.”
While Greenwich Village is typically thought of as a part of Manhattan that has gone unchanged for years, it actually underwent major construction (http://forgotten-ny.com/1999/09/greenwich-village-necrology/) in 1914 for 7th Avenue’s extension. The avenue was extended because the city was building the 7th Avenue subway line, and thanks to eminent domain (http://cityroom.blogs.nytimes.com/2009/04/17/answers-about-the-history-of-manhattan-part-3/?_r=0) , many of the properties in the West Village were affected, cut into triangular blocks. On 10th Street, the block had been rectangular, but this extension cut the northwest corner off and created the irregular shape that became a hallmark for the later occupants.
http://bedfordandbowery.com/wp-content/uploads/2015/12/nypl.digitalcollections.Plate-59-1857-1862.jpg
In the 1800s and early 1900s, Manhattan tax maps show that the lot was actually used as a storage space. In the illustrations, it appears as a blank white section surrounded by other smaller spaces listed as residential buildings. It isn’t until 1916 that the map appears with a label: “drug storage.”
But perhaps the most iconic element of Greenwich Village comes from the streets, which deviate noticeably from the strict grid structure that dominates much of Manhattan. This also comes from the early 1800s, when cholera and yellow fever outbreaks attacked the city. In the book (https://books.google.com/books?id=fBNAbmUKj8AC&pg=PA6&lpg=PA6&dq=cholera+outbreak+greenwich+village+new+york&source=bl&ots=_pMJUgZawD&sig=MGfAqYnnVvuR3p6o2nNVDNjA-o8&hl=en&sa=X&ved=0ahUKEwjR5vTNicDJAhXKqR4KHdQgDSAQ6AEIPzAG#v=onepage&q=cholera%20outbreak%20greenwich%20village%20new%20york&f=false) Greenwich Village Catholics: St. Joseph’s Church and the Evolution of an Urban Faith Community, 1829-2002, the neighborhood is described as a “favorite refuge for better-off New Yorkers.” Author Thomas J. Shelley said those who could afford to go to Greenwich Village built temporary homes, which were dismantled when it was deemed safe to return.
A New York Times article (http://www.nytimes.com/2008/04/15/science/15chol.html?pagewanted=all&_r=0) also outlines the importance disease had in shaping the neighborhood and the Village’s role as a refuge: “People were squeezed out of the lower wards by the influx of immigrants. Some, escaping earlier outbreaks of malaria and yellow fever, had sought a haven in the clean air and open land of the village called Greenwich.” A medical pamphlet written during the outbreak indicates that the virus was not well-understood by medical professionals, so escape was the best option. In fact, one chart from the time period shows that Greenwich Village, then known as the 9th Ward, had one of the lowest fatality rates in the city during the cholera epidemic.
In its earliest history, 10th Street was called Amos Street, named after Richard Amos, who received the land from Peter Warren, whose farm extended over this part of Greenwich in the late 1700s. Stokes’ The Iconography of Manhattan Island points out that Warren’s farm included three other smaller villages, and says that Warren acquired the land between June of 1731 and September of 1744. There’s a description of Warren in Bruno’s Weekly (http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaaq19160108-01.2.3&e=——-en-20–1–txt-IN—–) : “FLYING his flag aboard the Launceston, commanding on the station, and making such a brave show with his captured ships, Captain—by courtesy Commodore—Warren cut a prodigiously fine figure here in New York about the year of grace 1744; so fine, indeed, that never a man in the whole Province could be compared with him in dignity save only the Governor himself.”
* * *
After Nick’s was closed, it quickly transitioned to a different jazz club – this one called Your Father’s Mustache. One of the first stories I remember hearing about my dad’s childhood happened in this club. It was his 16th birthday, and his father, his best friend Dave, and Dave’s dad went from his home in New Jersey to Manhattan for a night on the town. “Greenwich Village at that time was a hotspot for younger people. We had been there a bunch of times. You could drink at 18 there, but not in New Jersey, so it was a rite of passage to go from Jersey to New York City. It had been like that even when PopPop was a kid,” my dad told me, referring to my grandfather.
The story involved the Playboy Club and a theater where the four of them saw the Fugs (http://www.thefugs.com/) , but the part that sticks out the most was his trip to Your Father’s Mustache. He said all he remembered was that the inside was red and white, and all the waiters wore straw hats and a red and white outfit. That and the fact that he had to use his fake ID in front of his father to get in the door for a few drinks.
Just a year after Nick’s closed, Your Father’s Mustache was bought by Joel Schiavone, a man whose answering machine currently says, “Make sure this is a happy, optimistic message — I could use some good news.” A graduate of Harvard business school, Schiavone had been to the club once when it was Nick’s, and he left some elements of décor but added the distinctive elements that my dad remembered, including red walls, gilded frames, and the name on the front.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Your-Fathers-Mustache.jpg
This was not Schiavone’s first bar. He also had locations in Boston and Cape Cod, both of which had previously been named the Red Garter. Schiavone told me that after a contest, they changed the name to Your Father’s Mustache, and he opened “another eight or nine clubs all over the world.”
But the old Nick’s crowd was left out as Your Father’s Mustache embraced a new musical style and a new demographic. Heyman told me that Your Father’s Mustache wouldn’t have interested him. “I never visited it at all. The taste was different – they wouldn’t have had the old guard of my heroes there, if they even had traditional Dixieland at all.”
In 1976, Your Father’s Mustache also closed. Schiavone said he rented the space, and after he left, it was sold to “a gentleman for his wife to sing in.” This gentleman was Alfredo Viazzi, who owned several other restaurants throughout the city. This one was called Alfredo’s Settebello, and his wife was Jane White (http://www.nytimes.com/2011/08/08/arts/jane-white-actress-and-singer-who-rebelled-against-racial-straitjacketing-dies-at-88.html?_r=0) , a woman who challenged racial stereotypes. When Viazzi took over the space, he found himself (http://query.nytimes.com/mem/archive/pdf?res=9B0DE6DA1E3AEF33A25757C0A9609C946790D6CF) “[d]igging out of about 35 years of filth and neglect and removing 400 pounds of peanut shells left behind by Your Father’s Mustache.” He gave away eight moose heads and kept two Tiffany lampshades for himself.
The club was only open a year, and the cabaret theme was not White’s specialty – typically she acted in Shakespeare plays. Viazzi had one more venture in the 7th Avenue lot. According to New York magazine (https://books.google.com/books?id=1tcCAAAAMBAJ&pg=PA81&lpg=PA81&dq=alfredo+settebello+closing&source=bl&ots=3XRI5phKR2&sig=nGg7AGVmZcH66uZRi0k4wtKuBrA&hl=en&sa=X&ved=0ahUKEwiEoKuzwKTJAhUE7iYKHbH9B1QQ6AEIOzAF#v=onepage&q=alfredo%20settebello%20closing&f=false) , he opened the disco club Gable, which was owned by the same management as nearby club Limelight. The lot sat vacant for a few years before its final transition.
When I asked Schiavone what happened after Your Father’s Mustache, he said, “It was a great old club. I don’t know why they tore it down, it was in a historic district, so they weren’t allowed to tear it down but now it’s gone.” The building is specifically included in the New York City Landmarks Preservation Commission Designation Report (http://www.nyc.gov/html/lpc/downloads/pdf/reports/GV.pdf) : “This large one-story nightclub occupies a corner building which was built in 1923 for John Wyeth & Bro., Inc., and was designed by John E. Nitchie. It represents a very recent remodeling in a ‘Gay Nineties’ theme…In its place sits an enormous multi-story building.” In Greenwich Village and How it Got that Way , author Terry Miller said that “[a]fter several derelict years, the building vanished almost overnight in January 1989, and its wedge-shaped plot was cleared for development.”
Today, the Gourmet Garage’s storefront spans nearly the whole length of the block, its red letters a glaring reminder of what the space is now. On the top floor sits a New York Sports Club, its glass windows allowing gym-goers to watch pedestrians on the street below. Even though the iconic space has disappeared, relics of the jazz period still exist. The Village Vanguard and Julius’ still sit in Greenwich Village, evidence of a time before large-scale bargain grocery stores and glossy high-rise apartment buildings.
“It was the end of an era,” said Schiavone. “Rock and roll and drugs came into vogue and people left us behind.” While some Greenwich Village jazz spots live on, the neighborhood will never be exactly what it was at the height of jazz in New York, and the old jazz guys will always miss those days. “The world changed. The whole world changed.”
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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Nick’s Tavern, the Jazz Joint That Went Down Swinging
http://www.jazzpromoservices.com/
http://bedfordandbowery.com/2015/12/nicks-tavern-the-village-jazz-joint-that-went-down-swinging/
** Nick’s Tavern, the Jazz Joint That Went Down Swinging
————————————————————
DECEMBER 25, 2015 BY KATIE WHITTAKER
This week and next, we present a series of longer pieces unraveling the histories of storied buildings.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Nicks-Postcard.jpg
When Dick Hyman — “a living, breathing encyclopedia of jazz,” per NPR (http://www.npr.org/sections/ablogsupreme/2012/03/06/148056206/dick-hyman-a-living-breathing-encyclopedia-of-jazz) – was a Columbia student, he’d often travel to 7th Avenue and 10th Street in Greenwich Village to catch a glimpse of his heroes playing. Although there were plenty of jazz joints in the neighborhood, the place he loved most was Nick’s Tavern.
“I recall a big place, moose head on the wall, dark wood, and a bar where you could stand with your beer or Coke (I never graduated to anything stronger),” he wrote in Piano Today. “A grand piano rested on the raised bandstand, while two little uprights sat floor-level in front.”
Among those who graced the bandstand was trumpeter Chelsea Quealy, who seemed to Hyman and his buddies to be “the very embodiment of the hard-bitten jazzman.” Hyman recalled an exchange with him: “One of us summoned up all his teenage bravado and asked ironically, ‘How’s the music business?’ Quealy spat on the floor in response. We all felt this was a proper answer, although he didn’t seem to be happy playing the good music either.”
Fifty-four years after Nick’s closed, Hyman still remembers how important the jazz club was to him. “We were real fans of this, we believed that it was the truth, and anything else was more or less phony or an imitation and not the real thing,” he said in a phone interview last month.
In an essay (http://riverwalkjazz.stanford.edu/bonus-content/getting-nicks) in Riverwalk Jazz, Rod Jellema remembered Nick’s as a place “where suffering jazzmen, holding their own against the cheap commercialization of the big bands, could give honest expression to their deepest feelings. That’s the way I thought of them: martyrs to their high calling, misunderstood by the vast public, whether they were blowing the roof off with ‘That’s a Plenty,’ or dredging slowly the soulful blues of ‘Nobody Knows You When You’re Down and Out.’”
Johnny Varro used to work at Nick’s as a pianist for one of the two bands, and considers the place an institution, and a “real jazz house”: “Musicians used to clamor in there who weren’t working in the club just to hear the music or sit in.” He remembers the kitchen’s specialty: “You could hardly see the bandstand sometimes with those sizzling steaks.” And, of course, the signature wall décor: “We used to put lit cigarettes in the mouths of the moose heads, which would drive the maitre d’s crazy.”
When Nick Rongetti opened his eponymous place in 1922 (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) on 140 Seventh Avenue South, it was his fifth attempt at a jazz club in New York. Around this time, jazz clubs and bars were mostly located on 52nd Street (http://www.pbs.org/jazz/places/places_new_york.htm) in Manhattan. Prohibition-era speakeasies on this street transitioned to jazz clubs after the repeal, but after that, jazz began to filter downtown to Greenwich Village.
Rongetti is often remembered for his “devotion (http://www.villagevoice.com/news/dixieland-in-the-village-old-nicks-is-nixed-6663522) ” to jazz, particularly Dixieland, a style that came from New Orleans and became so closely related to Nick’s that the New York Times called it “Nicksieland (http://query.nytimes.com/mem/archive-free/pdf?res=9900E1DC1130E631A25751C1A9649C946890D6CF) .” Equally famous were the venue’s jam sessions. Another Times article (http://query.nytimes.com/mem/archive/pdf?res=9E04EEDA1330E53BBC4D53DFB4678388659EDE) said, “The meetings have been going on regularly for seven years and they have become an institution.” There was no printed music, and the sessions were noted for the fact that there were “no rules.”
Even Rongetti played. He “would occasionally sit down and play along with the intermission pianist named Cliff Jackson,” said Hyman. “That was the feature, the band played, and then the one or two pianists would play intermissions.”
But Rongetti’s passion couldn’t keep Nick’s alive. It closed the week of August 10, 1963, to the surprise to the club’s regulars. Hyman said that he didn’t know why it closed. “Certainly there were changing styles, and that was no longer the central kind of jazz after a while.” But the media at the time did not seem to believe that stylistic changes were entirely to blame. One Times article (http://query.nytimes.com/mem/archive/pdf?res=9F01E3DD1431E73BBC4852DFBE668388679EDE) said that “the closing of Nick’s cannot be attributed solely to a decline in the popularity of Dixieland. Problems of night-club management were a factor.”
The article also said, “After 27 years of making jazz history, the Greenwich Village landmark closed its doors Saturday night. With scarcely any public attention, the final chorus of ‘Tin Roof Blues’ blared out and the neon message ‘Sizzling Steaks’ went dark.”
Nick’s was the first notable venue to open on that corner of 7th Avenue. The club itself was built onto a drug storage facility, so bathrooms and a kitchen had to be added to make it a space that, as the Department of Buildings indicated, became an “eating and drinking place without restrictions on entertainment.”
While Greenwich Village is typically thought of as a part of Manhattan that has gone unchanged for years, it actually underwent major construction (http://forgotten-ny.com/1999/09/greenwich-village-necrology/) in 1914 for 7th Avenue’s extension. The avenue was extended because the city was building the 7th Avenue subway line, and thanks to eminent domain (http://cityroom.blogs.nytimes.com/2009/04/17/answers-about-the-history-of-manhattan-part-3/?_r=0) , many of the properties in the West Village were affected, cut into triangular blocks. On 10th Street, the block had been rectangular, but this extension cut the northwest corner off and created the irregular shape that became a hallmark for the later occupants.
http://bedfordandbowery.com/wp-content/uploads/2015/12/nypl.digitalcollections.Plate-59-1857-1862.jpg
In the 1800s and early 1900s, Manhattan tax maps show that the lot was actually used as a storage space. In the illustrations, it appears as a blank white section surrounded by other smaller spaces listed as residential buildings. It isn’t until 1916 that the map appears with a label: “drug storage.”
But perhaps the most iconic element of Greenwich Village comes from the streets, which deviate noticeably from the strict grid structure that dominates much of Manhattan. This also comes from the early 1800s, when cholera and yellow fever outbreaks attacked the city. In the book (https://books.google.com/books?id=fBNAbmUKj8AC&pg=PA6&lpg=PA6&dq=cholera+outbreak+greenwich+village+new+york&source=bl&ots=_pMJUgZawD&sig=MGfAqYnnVvuR3p6o2nNVDNjA-o8&hl=en&sa=X&ved=0ahUKEwjR5vTNicDJAhXKqR4KHdQgDSAQ6AEIPzAG#v=onepage&q=cholera%20outbreak%20greenwich%20village%20new%20york&f=false) Greenwich Village Catholics: St. Joseph’s Church and the Evolution of an Urban Faith Community, 1829-2002, the neighborhood is described as a “favorite refuge for better-off New Yorkers.” Author Thomas J. Shelley said those who could afford to go to Greenwich Village built temporary homes, which were dismantled when it was deemed safe to return.
A New York Times article (http://www.nytimes.com/2008/04/15/science/15chol.html?pagewanted=all&_r=0) also outlines the importance disease had in shaping the neighborhood and the Village’s role as a refuge: “People were squeezed out of the lower wards by the influx of immigrants. Some, escaping earlier outbreaks of malaria and yellow fever, had sought a haven in the clean air and open land of the village called Greenwich.” A medical pamphlet written during the outbreak indicates that the virus was not well-understood by medical professionals, so escape was the best option. In fact, one chart from the time period shows that Greenwich Village, then known as the 9th Ward, had one of the lowest fatality rates in the city during the cholera epidemic.
In its earliest history, 10th Street was called Amos Street, named after Richard Amos, who received the land from Peter Warren, whose farm extended over this part of Greenwich in the late 1700s. Stokes’ The Iconography of Manhattan Island points out that Warren’s farm included three other smaller villages, and says that Warren acquired the land between June of 1731 and September of 1744. There’s a description of Warren in Bruno’s Weekly (http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaaq19160108-01.2.3&e=——-en-20–1–txt-IN—–) : “FLYING his flag aboard the Launceston, commanding on the station, and making such a brave show with his captured ships, Captain—by courtesy Commodore—Warren cut a prodigiously fine figure here in New York about the year of grace 1744; so fine, indeed, that never a man in the whole Province could be compared with him in dignity save only the Governor himself.”
* * *
After Nick’s was closed, it quickly transitioned to a different jazz club – this one called Your Father’s Mustache. One of the first stories I remember hearing about my dad’s childhood happened in this club. It was his 16th birthday, and his father, his best friend Dave, and Dave’s dad went from his home in New Jersey to Manhattan for a night on the town. “Greenwich Village at that time was a hotspot for younger people. We had been there a bunch of times. You could drink at 18 there, but not in New Jersey, so it was a rite of passage to go from Jersey to New York City. It had been like that even when PopPop was a kid,” my dad told me, referring to my grandfather.
The story involved the Playboy Club and a theater where the four of them saw the Fugs (http://www.thefugs.com/) , but the part that sticks out the most was his trip to Your Father’s Mustache. He said all he remembered was that the inside was red and white, and all the waiters wore straw hats and a red and white outfit. That and the fact that he had to use his fake ID in front of his father to get in the door for a few drinks.
Just a year after Nick’s closed, Your Father’s Mustache was bought by Joel Schiavone, a man whose answering machine currently says, “Make sure this is a happy, optimistic message — I could use some good news.” A graduate of Harvard business school, Schiavone had been to the club once when it was Nick’s, and he left some elements of décor but added the distinctive elements that my dad remembered, including red walls, gilded frames, and the name on the front.
http://bedfordandbowery.com/wp-content/uploads/2015/12/Your-Fathers-Mustache.jpg
This was not Schiavone’s first bar. He also had locations in Boston and Cape Cod, both of which had previously been named the Red Garter. Schiavone told me that after a contest, they changed the name to Your Father’s Mustache, and he opened “another eight or nine clubs all over the world.”
But the old Nick’s crowd was left out as Your Father’s Mustache embraced a new musical style and a new demographic. Heyman told me that Your Father’s Mustache wouldn’t have interested him. “I never visited it at all. The taste was different – they wouldn’t have had the old guard of my heroes there, if they even had traditional Dixieland at all.”
In 1976, Your Father’s Mustache also closed. Schiavone said he rented the space, and after he left, it was sold to “a gentleman for his wife to sing in.” This gentleman was Alfredo Viazzi, who owned several other restaurants throughout the city. This one was called Alfredo’s Settebello, and his wife was Jane White (http://www.nytimes.com/2011/08/08/arts/jane-white-actress-and-singer-who-rebelled-against-racial-straitjacketing-dies-at-88.html?_r=0) , a woman who challenged racial stereotypes. When Viazzi took over the space, he found himself (http://query.nytimes.com/mem/archive/pdf?res=9B0DE6DA1E3AEF33A25757C0A9609C946790D6CF) “[d]igging out of about 35 years of filth and neglect and removing 400 pounds of peanut shells left behind by Your Father’s Mustache.” He gave away eight moose heads and kept two Tiffany lampshades for himself.
The club was only open a year, and the cabaret theme was not White’s specialty – typically she acted in Shakespeare plays. Viazzi had one more venture in the 7th Avenue lot. According to New York magazine (https://books.google.com/books?id=1tcCAAAAMBAJ&pg=PA81&lpg=PA81&dq=alfredo+settebello+closing&source=bl&ots=3XRI5phKR2&sig=nGg7AGVmZcH66uZRi0k4wtKuBrA&hl=en&sa=X&ved=0ahUKEwiEoKuzwKTJAhUE7iYKHbH9B1QQ6AEIOzAF#v=onepage&q=alfredo%20settebello%20closing&f=false) , he opened the disco club Gable, which was owned by the same management as nearby club Limelight. The lot sat vacant for a few years before its final transition.
When I asked Schiavone what happened after Your Father’s Mustache, he said, “It was a great old club. I don’t know why they tore it down, it was in a historic district, so they weren’t allowed to tear it down but now it’s gone.” The building is specifically included in the New York City Landmarks Preservation Commission Designation Report (http://www.nyc.gov/html/lpc/downloads/pdf/reports/GV.pdf) : “This large one-story nightclub occupies a corner building which was built in 1923 for John Wyeth & Bro., Inc., and was designed by John E. Nitchie. It represents a very recent remodeling in a ‘Gay Nineties’ theme…In its place sits an enormous multi-story building.” In Greenwich Village and How it Got that Way , author Terry Miller said that “[a]fter several derelict years, the building vanished almost overnight in January 1989, and its wedge-shaped plot was cleared for development.”
Today, the Gourmet Garage’s storefront spans nearly the whole length of the block, its red letters a glaring reminder of what the space is now. On the top floor sits a New York Sports Club, its glass windows allowing gym-goers to watch pedestrians on the street below. Even though the iconic space has disappeared, relics of the jazz period still exist. The Village Vanguard and Julius’ still sit in Greenwich Village, evidence of a time before large-scale bargain grocery stores and glossy high-rise apartment buildings.
“It was the end of an era,” said Schiavone. “Rock and roll and drugs came into vogue and people left us behind.” While some Greenwich Village jazz spots live on, the neighborhood will never be exactly what it was at the height of jazz in New York, and the old jazz guys will always miss those days. “The world changed. The whole world changed.”
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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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
William Guest, of Gladys Knight and the Pips, dies at 74 – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/william-guest-of-gladys-knight-and-the-pips-dies-at-74/
** William Guest, of Gladys Knight and the Pips, dies at 74
————————————————————
LOS ANGELES – William Guest, a member of Gladys Knight and the Pips, has died. He was 74.
Guest’s sister-in-law, Dhyana Ziegler, said he died Thursday in Detroit of congestive heart failure.
safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo
** Gladys Knight on breaking in at the Apollo (safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo)
————————————————————
Guest performed throughout the lifespan of the Grammy-winning group from 1953 to 1989. He performed background vocals on hits such as “I Heard It Through the Grapevine” and “Midnight Train to Georgia.”
“My heart is broken, but I know his legacy will live on,” said Guest’s daughter, Monique Guest, in a statement.
Gladys Knight and the Pips were inducted into the Rock and Roll Hall of Fame (https://rockhall.com/inductees/gladys-knight-and-the-pips/) in 1996 and the Apollo Hall of Fame in 2006.
After the group ended, Guest and another member, the late Edward Patten, formed a production company. Guest later served as CEO of Crew Records.
He released his autobiography “Midnight Train From Georgia: A Pip’s Journey” (http://brandenbooks.com/product_info.php?products_id=397) (Branden Books) in 2013 with Ziegler.
“I am so glad we finished the book, so his wonderful life and legacy will be celebrated throughout eternity,” Ziegler said. “I loved my brother so much.”
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=d2805103a6) | 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=d2805103a6&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
William Guest, of Gladys Knight and the Pips, dies at 74 – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/william-guest-of-gladys-knight-and-the-pips-dies-at-74/
** William Guest, of Gladys Knight and the Pips, dies at 74
————————————————————
LOS ANGELES – William Guest, a member of Gladys Knight and the Pips, has died. He was 74.
Guest’s sister-in-law, Dhyana Ziegler, said he died Thursday in Detroit of congestive heart failure.
safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo
** Gladys Knight on breaking in at the Apollo (safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo)
————————————————————
Guest performed throughout the lifespan of the Grammy-winning group from 1953 to 1989. He performed background vocals on hits such as “I Heard It Through the Grapevine” and “Midnight Train to Georgia.”
“My heart is broken, but I know his legacy will live on,” said Guest’s daughter, Monique Guest, in a statement.
Gladys Knight and the Pips were inducted into the Rock and Roll Hall of Fame (https://rockhall.com/inductees/gladys-knight-and-the-pips/) in 1996 and the Apollo Hall of Fame in 2006.
After the group ended, Guest and another member, the late Edward Patten, formed a production company. Guest later served as CEO of Crew Records.
He released his autobiography “Midnight Train From Georgia: A Pip’s Journey” (http://brandenbooks.com/product_info.php?products_id=397) (Branden Books) in 2013 with Ziegler.
“I am so glad we finished the book, so his wonderful life and legacy will be celebrated throughout eternity,” Ziegler said. “I loved my brother so much.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
William Guest, of Gladys Knight and the Pips, dies at 74 – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/william-guest-of-gladys-knight-and-the-pips-dies-at-74/
** William Guest, of Gladys Knight and the Pips, dies at 74
————————————————————
LOS ANGELES – William Guest, a member of Gladys Knight and the Pips, has died. He was 74.
Guest’s sister-in-law, Dhyana Ziegler, said he died Thursday in Detroit of congestive heart failure.
safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo
** Gladys Knight on breaking in at the Apollo (safari-reader://www.cbsnews.com/videos/gladys-knight-on-breaking-in-at-the-apollo)
————————————————————
Guest performed throughout the lifespan of the Grammy-winning group from 1953 to 1989. He performed background vocals on hits such as “I Heard It Through the Grapevine” and “Midnight Train to Georgia.”
“My heart is broken, but I know his legacy will live on,” said Guest’s daughter, Monique Guest, in a statement.
Gladys Knight and the Pips were inducted into the Rock and Roll Hall of Fame (https://rockhall.com/inductees/gladys-knight-and-the-pips/) in 1996 and the Apollo Hall of Fame in 2006.
After the group ended, Guest and another member, the late Edward Patten, formed a production company. Guest later served as CEO of Crew Records.
He released his autobiography “Midnight Train From Georgia: A Pip’s Journey” (http://brandenbooks.com/product_info.php?products_id=397) (Branden Books) in 2013 with Ziegler.
“I am so glad we finished the book, so his wonderful life and legacy will be celebrated throughout eternity,” Ziegler said. “I loved my brother so much.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Columbia House to Relaunch as Vinyl Subscription Service | Rolling Stone
http://www.jazzpromoservices.com/
http://www.rollingstone.com/music/news/columbia-house-to-relaunch-as-vinyl-subscription-service-in-2016-20151224
** Columbia House to Relaunch as Vinyl Subscription Service in 2016
————————————————————
BY DANIEL KREPS (http://www.rollingstone.com/contributor/daniel-kreps) December 24, 2015
ch
Four months after declaring bankruptcy (http://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811) , mail-order retailer Columbia House thinks they have uncovered a path to solvency: Vinyl. Hoping to capitalize on the record fad, Columbia House’s new owner announced plans to revive the company as a vinyl-only delivery service. Columbia House got out of the music business entirely in 2010; since then, they’ve operated as a DVD marketplace.
** Sidebar
————————————————————
safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811
Columbia House Files for Bankruptcy, Blames Streaming » (safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811)
“You can see a yearning and an interest to try a new format,” John Lippman, who bought the Columbia House brand out of bankruptcy for $1.5 million, told the Wall Street Journal (http://www.wsj.com/articles/columbia-house-seeks-revival-as-vinyl-finds-new-groove-1450825183) of the company’s plans. “For a category that is meaningful and growing rapidly, you don’t see a whole lot of choice.”
At its peak in 1996, the service and its “Eight CDs for one penny” offer raked in an annual profit of $1.4 billion, but the decline of both the music and DVD industries ultimately resulted in Columbia House filing Chapter 11 bankruptcy in August, blaming streaming services for their free fall. At that time, the company’s assets were valued at $2 million while it owed $63 million to over 250 creditors.
However, while CD and DVD sales continue to steadily decline, the vinyl resurgence has seen nationwide retailers like Urban Outfitters, Barnes & Noble and even Whole Foods (http://media.wholefoodsmarket.com/news/whole-foods-market-offering-vinyl-at-more-stores) dedicating floor space to the medium. Vinyl sales rose 52 percent over the first half of 2015, with one-third of all physical music sales now vinyl records. However, that total only represents 7 percent of all music purchases.
“It’s not that digitization is going away,” Lippman said. “I think there is a sense among a lot of people of looking to get back to the broader experience of engaging with media.” While Columbia House hasn’t cemented their vinyl operation yet, they have launched a site – Columbia House Record Club (http://www.columbiahouserecordclub.com/) – with a promise that they “will return in 2016.”
Columbia House will find some competition in the burgeoning vinyl resurgence from membership clubs like VNYL and Vinyl Me, Please.
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=246c597560) | 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=246c597560&e=[UNIQID])
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Columbia House to Relaunch as Vinyl Subscription Service | Rolling Stone
http://www.jazzpromoservices.com/
http://www.rollingstone.com/music/news/columbia-house-to-relaunch-as-vinyl-subscription-service-in-2016-20151224
** Columbia House to Relaunch as Vinyl Subscription Service in 2016
————————————————————
BY DANIEL KREPS (http://www.rollingstone.com/contributor/daniel-kreps) December 24, 2015
ch
Four months after declaring bankruptcy (http://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811) , mail-order retailer Columbia House thinks they have uncovered a path to solvency: Vinyl. Hoping to capitalize on the record fad, Columbia House’s new owner announced plans to revive the company as a vinyl-only delivery service. Columbia House got out of the music business entirely in 2010; since then, they’ve operated as a DVD marketplace.
** Sidebar
————————————————————
safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811
Columbia House Files for Bankruptcy, Blames Streaming » (safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811)
“You can see a yearning and an interest to try a new format,” John Lippman, who bought the Columbia House brand out of bankruptcy for $1.5 million, told the Wall Street Journal (http://www.wsj.com/articles/columbia-house-seeks-revival-as-vinyl-finds-new-groove-1450825183) of the company’s plans. “For a category that is meaningful and growing rapidly, you don’t see a whole lot of choice.”
At its peak in 1996, the service and its “Eight CDs for one penny” offer raked in an annual profit of $1.4 billion, but the decline of both the music and DVD industries ultimately resulted in Columbia House filing Chapter 11 bankruptcy in August, blaming streaming services for their free fall. At that time, the company’s assets were valued at $2 million while it owed $63 million to over 250 creditors.
However, while CD and DVD sales continue to steadily decline, the vinyl resurgence has seen nationwide retailers like Urban Outfitters, Barnes & Noble and even Whole Foods (http://media.wholefoodsmarket.com/news/whole-foods-market-offering-vinyl-at-more-stores) dedicating floor space to the medium. Vinyl sales rose 52 percent over the first half of 2015, with one-third of all physical music sales now vinyl records. However, that total only represents 7 percent of all music purchases.
“It’s not that digitization is going away,” Lippman said. “I think there is a sense among a lot of people of looking to get back to the broader experience of engaging with media.” While Columbia House hasn’t cemented their vinyl operation yet, they have launched a site – Columbia House Record Club (http://www.columbiahouserecordclub.com/) – with a promise that they “will return in 2016.”
Columbia House will find some competition in the burgeoning vinyl resurgence from membership clubs like VNYL and Vinyl Me, Please.
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=246c597560) | 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=246c597560&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
Columbia House to Relaunch as Vinyl Subscription Service | Rolling Stone
http://www.jazzpromoservices.com/
http://www.rollingstone.com/music/news/columbia-house-to-relaunch-as-vinyl-subscription-service-in-2016-20151224
** Columbia House to Relaunch as Vinyl Subscription Service in 2016
————————————————————
BY DANIEL KREPS (http://www.rollingstone.com/contributor/daniel-kreps) December 24, 2015
ch
Four months after declaring bankruptcy (http://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811) , mail-order retailer Columbia House thinks they have uncovered a path to solvency: Vinyl. Hoping to capitalize on the record fad, Columbia House’s new owner announced plans to revive the company as a vinyl-only delivery service. Columbia House got out of the music business entirely in 2010; since then, they’ve operated as a DVD marketplace.
** Sidebar
————————————————————
safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811
Columbia House Files for Bankruptcy, Blames Streaming » (safari-reader://www.rollingstone.com/music/news/columbia-house-files-for-bankruptcy-blames-streaming-20150811)
“You can see a yearning and an interest to try a new format,” John Lippman, who bought the Columbia House brand out of bankruptcy for $1.5 million, told the Wall Street Journal (http://www.wsj.com/articles/columbia-house-seeks-revival-as-vinyl-finds-new-groove-1450825183) of the company’s plans. “For a category that is meaningful and growing rapidly, you don’t see a whole lot of choice.”
At its peak in 1996, the service and its “Eight CDs for one penny” offer raked in an annual profit of $1.4 billion, but the decline of both the music and DVD industries ultimately resulted in Columbia House filing Chapter 11 bankruptcy in August, blaming streaming services for their free fall. At that time, the company’s assets were valued at $2 million while it owed $63 million to over 250 creditors.
However, while CD and DVD sales continue to steadily decline, the vinyl resurgence has seen nationwide retailers like Urban Outfitters, Barnes & Noble and even Whole Foods (http://media.wholefoodsmarket.com/news/whole-foods-market-offering-vinyl-at-more-stores) dedicating floor space to the medium. Vinyl sales rose 52 percent over the first half of 2015, with one-third of all physical music sales now vinyl records. However, that total only represents 7 percent of all music purchases.
“It’s not that digitization is going away,” Lippman said. “I think there is a sense among a lot of people of looking to get back to the broader experience of engaging with media.” While Columbia House hasn’t cemented their vinyl operation yet, they have launched a site – Columbia House Record Club (http://www.columbiahouserecordclub.com/) – with a promise that they “will return in 2016.”
Columbia House will find some competition in the burgeoning vinyl resurgence from membership clubs like VNYL and Vinyl Me, Please.
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=246c597560) | 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=246c597560&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
A Jazz Musician’s Christmas, with Jack Sheldon – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFaVTyp9RhE
Check the comment too…
https://www.youtube.com/watch?v=PFaVTyp9RhE
George Guiver (https://www.youtube.com/user/gguiver1) 1 week ago (https://www.youtube.com/watch?v=PFaVTyp9RhE&lc=z12kvzjjasfzytaa404ch1hyoxftwdrbjn00k)
I was pranked by him. I was a very young guy doing lights for Billy Preston. The Hollywood Band, basically Merv Griffin’s Band was opening. I think that was their name. He came up to me and asked if I had a light for his girlfriend. It was an outdoor venue and was fairly dark back of the stage. All I could see was an outline of a large fur coat. I lit the match and it was Cybil Shepard. This was about 1976. I never did get her cig lit. Nerves…She was the singer for the band and not bad at all. Funny guy, smooth player and the voice of how a bill becomes law animation.
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=4f661aca7e) | 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=4f661aca7e&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A Jazz Musician’s Christmas, with Jack Sheldon – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFaVTyp9RhE
Check the comment too…
https://www.youtube.com/watch?v=PFaVTyp9RhE
George Guiver (https://www.youtube.com/user/gguiver1) 1 week ago (https://www.youtube.com/watch?v=PFaVTyp9RhE&lc=z12kvzjjasfzytaa404ch1hyoxftwdrbjn00k)
I was pranked by him. I was a very young guy doing lights for Billy Preston. The Hollywood Band, basically Merv Griffin’s Band was opening. I think that was their name. He came up to me and asked if I had a light for his girlfriend. It was an outdoor venue and was fairly dark back of the stage. All I could see was an outline of a large fur coat. I lit the match and it was Cybil Shepard. This was about 1976. I never did get her cig lit. Nerves…She was the singer for the band and not bad at all. Funny guy, smooth player and the voice of how a bill becomes law animation.
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=4f661aca7e) | 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=4f661aca7e&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
A Jazz Musician’s Christmas, with Jack Sheldon – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFaVTyp9RhE
Check the comment too…
https://www.youtube.com/watch?v=PFaVTyp9RhE
George Guiver (https://www.youtube.com/user/gguiver1) 1 week ago (https://www.youtube.com/watch?v=PFaVTyp9RhE&lc=z12kvzjjasfzytaa404ch1hyoxftwdrbjn00k)
I was pranked by him. I was a very young guy doing lights for Billy Preston. The Hollywood Band, basically Merv Griffin’s Band was opening. I think that was their name. He came up to me and asked if I had a light for his girlfriend. It was an outdoor venue and was fairly dark back of the stage. All I could see was an outline of a large fur coat. I lit the match and it was Cybil Shepard. This was about 1976. I never did get her cig lit. Nerves…She was the singer for the band and not bad at all. Funny guy, smooth player and the voice of how a bill becomes law animation.
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=4f661aca7e) | 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=4f661aca7e&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
Over Yonder Over There – Pie Plant Pete And Bashful Harmonica Joe – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=BIunTV7WsE0
“I’ve loved the guitar ever since Pie Plant Pete let me hold his,” Les Paul said. “I went to sleep thinking about them, woke up thinking about them, and dreamed about what I was going to do with them in between.”
Les Paul’s Big Sound Experience (http://www.premierguitar.com/articles/23410-les-pauls-big-sound-experience)
https://www.youtube.com/watch?v=BIunTV7WsE0
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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CHRISTMAS IN JAIL THE YOUNGSTERS .wmv – YouTube
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CHRISTMAS IN JAIL THE YOUNGSTERS .wmv – YouTube
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By Woody Guthrie beleve it or not because of a true auto crash incedent back in 1945
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CHRISTMAS IN JAIL THE YOUNGSTERS .wmv – YouTube
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Jimmy Witherspoon-How I Hate to See Christmas Come Around – YouTube
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Jimmy Witherspoon-How I Hate to See Christmas Come Around – YouTube
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Piano Man: At 87, jazz legend Johnny Knapp is still jamming – Atlanta Magazine
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http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/
** Piano Man: At 87, jazz legend Johnny Knapp is still jamming
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*
*
** Knapp has gigged with Billie Holiday and Sarah Vaughan in his seven decade career.
————————————————————
December 15, 2015 (http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/) Jerry Grillo (http://www.atlantamagazine.com/author/jerry-grillo/)
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp01_amelton_oneuseonly.jpgPhotograph by Audra Melton
Johnny Knapp is 87, and he feels it. He moves with a walker, his withered legs powered by wiry forearms and large hands that have flown over piano keyboards for 70 years. It’s Tuesday, and his ride is waiting.
Knapp had polio as a boy. He wears orthopedic shoes to compensate for uneven legs. He paces himself, his gait an iambic meter—one-two, left-right—past relics and mementos, past the gorgeous sculptures he rescued from a trash heap decades ago, a decision he is thankful for now because they remind him of the artist, his wife, Dee, who was never very impressed with her own talents and who died in February.
After the funeral, their son, John, asked his old man to move in with him, to Raleigh, North Carolina, but Knapp refused. “My life is here. I’d miss my friends,” he says. “I’d miss the Tuesday lunch.”
He pushes through his music room—one-two—past the grand piano, past the floor-to-ceiling shelves of CDs, vinyl records, folders filled with compositions, playbills from 1950s Broadway, and hundreds of volumes, including nearly everything Upton Sinclair ever wrote and a few remaining yoga books.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp04_amelton_oneuseonly.jpgPhotograph by Audra Melton
“I gave the rest of them to Charlie Parker when he was in the hospital,” says Knapp, recalling the doomed Bird, their jam sessions, the polio-stricken piano player hosting the heroin-addicted saxophonist, the two of them unearthing and clarifying the melodies hidden within bebop’s frenzy. Parker asked him to go on the road, but Knapp couldn’t afford the pay cut and didn’t care for the drugs. “Yoga helped get me out of my leg braces. I figured it might help Charlie. It didn’t.”
This was around 1955. Knapp figured his worst years were behind him, like the discarded braces. Then he was rehobbled in a car crash several years ago, a bigger bummer than polio because it ended his driving days, making him feel crippled for the first time in his life, leaving him to depend on the kindness of friends—like Atlanta music icon Col. Bruce Hampton, today’s driver for the short trip to a Lilburn IHOP, where a core group of musicians gathers for the Tuesday lunch.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp03_amelton_oneuseonly.jpgA recent Tuesday lunch at IHOP included, from left, Col. Bruce Hampton, Knapp, Jez Graham, and Jack North.
Photograph by Audra Melton
Mostly they come for Johnny Knapp, who gigged with Billie Holiday and Sarah Vaughan, who ghostwrote songs with legendary tunesmith and playwright Bob Merrill, who was at the Ambassador Hotel in Los Angeles the day Bobby Kennedy was shot, and who performed in places like the Copacabana, Birdland, Basin Street East, and pretty much all of the great jazz clubs, then moved to Hollywood to play for movie stars and class-A directors.
“He’s the Forrest Gump of music,” Hampton says. “He’s been everywhere and done everything and played with everyone. He’s a beast. There are two great jazz piano players in my mind: Art Tatum and Johnny Knapp.”
Hampton has been known to exaggerate. Knapp hasn’t done everything. But he did have his own parking space at the Apollo Theater in Harlem, thanks to a pass that mobsters helped him acquire.
“I made a handshake agreement with a guy called John the Knife to play in his nephew’s band,” Knapp says. “When I told Dee, she couldn’t believe it. She said, ‘You’ve got to get out of that deal. That handshake is for life.’ So I called the guy and tried to be funny. I told him, ‘Mr. The Knife, I’ve reconsidered.’” The mobster sent a couple of associates to see Knapp. Not to renegotiate.
“He wanted them to break my fingers. That’s what they told me,” Knapp says. “But they could see my legs, how I walked, and I think they felt sorry for me. ‘Looks like someone already got to you,’ one of them said. They told me not to make promises I couldn’t keep and left me alone.”
Lunch used to be every other Tuesday. But since Dee died, the guys get Knapp to the IHOP every week. Sometimes Hampton drives him. Sometimes it’s Jim Basile, the longtime Atlanta morning traffic guy who plays a fine bass. Sometimes it’s Jez Graham, the piano player for Francine Reed and the guy who started the Tuesday lunch thing because he wanted Knapp to meet Hampton. “They’re living legends,” says Graham. “They had to meet.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp02_amelton_oneuseonly.jpgPhotograph by Audra Melton
Usually six to eight people show up on Tuesday, most of them musicians. There have been as few as three and as many as 20-plus, like the week after Dee died. There’s the occasional soundman, actor, or writer, and they’ve all heard bits of Knapp’s life story, his high-pitched New York rasp conjuring memories and half memories.
Here’s infant Johnny, gliding over lower Manhattan rooftops in the arms of his terrified father, fleeing the cops who wanted to quarantine the child with other polio victims, flatfoots scraping the blacktop. Here’s 12-year-old Johnny, tied to the fire escape so he can’t fall, an accordion on his lap, the voices of Eastern European immigrant women calling from below, through the flapping laundry, “Johnny, Johnny, play us a song.”
Here’s 19-year-old Johnny talking his way into piano lessons from Clarence Adler, Aaron Copland’s private music instructor. And here’s Johnny outside Birdland, calling to Miles Davis, who defies the “Crow Jim” movement—reverse segregation, when a white man had no rights in the country of jazz—and crosses Broadway to hug Johnny. “Miles didn’t give a shit,” says Knapp. “He could be gruff. But if he liked you, he liked you.”
Dee and Johnny were immersed in the 1950s and 1960s New York music scene. He earned big paychecks for society gigs and smaller ones for jazz sit-ins, enough to buy a Mercedes with cash, enough to give away hundreds of thousands of dollars to unlucky musicians—generosity he kept hidden from Dee, “because then she’d know why we’re so poor now. I’d never hear the end of it.”
They moved to Los Angeles, where he played for directors like Robert Altman and Sydney Pollack, movie wrap parties. He still flies out to the coast for similar gigs now and then, though Altman and Pollack (like most of the people he’s ever known or loved) are dead. He can’t remember the names of the directors who hire him now, and he’ll miss seeing James Garner (also dead), who usually stood by his piano and kept him company.
“I’m nose to nose with death,” he says, a little annoyed with Dee for taking her backstage pass to the universe, because 53 years together just wasn’t enough. “I know she’s in a better place. She wanted that. I’ve got to learn to be happier for her, but I can’t help being unhappy for me. If I love her, I guess it’s more important that she is where she needs to be.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp05_amelton_oneuseonly.jpgKnapp’s wedding album
Photograph by Audra Melton
They moved to Atlanta about 30 years ago to be near his mother, who was close to the end, and he became known as a musician’s musician. Every week, still, Knapp plays somewhere, usually as a guest, though he has standing gigs at Northlake Mall and a few retirement homes.
The Tuesday lunches coincide with a late-innings career boost for Knapp, who last year finished work on a musical adaptation of Great Expectations, a project that playwright Bob Merrill left unfinished when he shot himself in 1998. Merrill’s widow is trying to move it into production. Also, Knapp is collaborating with a writer on what may or may not be a musical about the Tuesday gatherings, where every topic is fair game.
Once the subject turned to put-downs. Hampton asked Knapp about the worst criticism he ever received for a performance.
“A guy said to me, ‘You play music like you walk,’” Knapp says, laughing like a man who laughs last, because he’s still got the gig, because he’s still in demand and people are glad for it.
Following a jam last winter with Hampton’s band at Terminal West, a 23-year-old woman made him an offer he physiologically and morally had to refuse. “And then, this guy comes up to me and tells me he drove 75 miles so he could see me play before I die,” Knapp says between sips of decaf. “I told him, ‘Buddy, you made it just in time.’”
This article originally appeared in our December 2015 issue.
Tags: Col. Bruce Hampton (http://www.atlantamagazine.com/tag/col-bruce-hampton/) , Jaz Graham (http://www.atlantamagazine.com/tag/jaz-graham/) , jazz (http://www.atlantamagazine.com/tag/jazz/) , Jim Basile (http://www.atlantamagazine.com/tag/jim-basile/) , Johnny Knapp (http://www.atlantamagazine.com/tag/johnny-knapp/) , music (http://www.atlantamagazine.com/tag/music-2/)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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USA
Piano Man: At 87, jazz legend Johnny Knapp is still jamming – Atlanta Magazine
http://www.jazzpromoservices.com/
http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/
** Piano Man: At 87, jazz legend Johnny Knapp is still jamming
————————————————————
*
*
** Knapp has gigged with Billie Holiday and Sarah Vaughan in his seven decade career.
————————————————————
December 15, 2015 (http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/) Jerry Grillo (http://www.atlantamagazine.com/author/jerry-grillo/)
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp01_amelton_oneuseonly.jpgPhotograph by Audra Melton
Johnny Knapp is 87, and he feels it. He moves with a walker, his withered legs powered by wiry forearms and large hands that have flown over piano keyboards for 70 years. It’s Tuesday, and his ride is waiting.
Knapp had polio as a boy. He wears orthopedic shoes to compensate for uneven legs. He paces himself, his gait an iambic meter—one-two, left-right—past relics and mementos, past the gorgeous sculptures he rescued from a trash heap decades ago, a decision he is thankful for now because they remind him of the artist, his wife, Dee, who was never very impressed with her own talents and who died in February.
After the funeral, their son, John, asked his old man to move in with him, to Raleigh, North Carolina, but Knapp refused. “My life is here. I’d miss my friends,” he says. “I’d miss the Tuesday lunch.”
He pushes through his music room—one-two—past the grand piano, past the floor-to-ceiling shelves of CDs, vinyl records, folders filled with compositions, playbills from 1950s Broadway, and hundreds of volumes, including nearly everything Upton Sinclair ever wrote and a few remaining yoga books.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp04_amelton_oneuseonly.jpgPhotograph by Audra Melton
“I gave the rest of them to Charlie Parker when he was in the hospital,” says Knapp, recalling the doomed Bird, their jam sessions, the polio-stricken piano player hosting the heroin-addicted saxophonist, the two of them unearthing and clarifying the melodies hidden within bebop’s frenzy. Parker asked him to go on the road, but Knapp couldn’t afford the pay cut and didn’t care for the drugs. “Yoga helped get me out of my leg braces. I figured it might help Charlie. It didn’t.”
This was around 1955. Knapp figured his worst years were behind him, like the discarded braces. Then he was rehobbled in a car crash several years ago, a bigger bummer than polio because it ended his driving days, making him feel crippled for the first time in his life, leaving him to depend on the kindness of friends—like Atlanta music icon Col. Bruce Hampton, today’s driver for the short trip to a Lilburn IHOP, where a core group of musicians gathers for the Tuesday lunch.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp03_amelton_oneuseonly.jpgA recent Tuesday lunch at IHOP included, from left, Col. Bruce Hampton, Knapp, Jez Graham, and Jack North.
Photograph by Audra Melton
Mostly they come for Johnny Knapp, who gigged with Billie Holiday and Sarah Vaughan, who ghostwrote songs with legendary tunesmith and playwright Bob Merrill, who was at the Ambassador Hotel in Los Angeles the day Bobby Kennedy was shot, and who performed in places like the Copacabana, Birdland, Basin Street East, and pretty much all of the great jazz clubs, then moved to Hollywood to play for movie stars and class-A directors.
“He’s the Forrest Gump of music,” Hampton says. “He’s been everywhere and done everything and played with everyone. He’s a beast. There are two great jazz piano players in my mind: Art Tatum and Johnny Knapp.”
Hampton has been known to exaggerate. Knapp hasn’t done everything. But he did have his own parking space at the Apollo Theater in Harlem, thanks to a pass that mobsters helped him acquire.
“I made a handshake agreement with a guy called John the Knife to play in his nephew’s band,” Knapp says. “When I told Dee, she couldn’t believe it. She said, ‘You’ve got to get out of that deal. That handshake is for life.’ So I called the guy and tried to be funny. I told him, ‘Mr. The Knife, I’ve reconsidered.’” The mobster sent a couple of associates to see Knapp. Not to renegotiate.
“He wanted them to break my fingers. That’s what they told me,” Knapp says. “But they could see my legs, how I walked, and I think they felt sorry for me. ‘Looks like someone already got to you,’ one of them said. They told me not to make promises I couldn’t keep and left me alone.”
Lunch used to be every other Tuesday. But since Dee died, the guys get Knapp to the IHOP every week. Sometimes Hampton drives him. Sometimes it’s Jim Basile, the longtime Atlanta morning traffic guy who plays a fine bass. Sometimes it’s Jez Graham, the piano player for Francine Reed and the guy who started the Tuesday lunch thing because he wanted Knapp to meet Hampton. “They’re living legends,” says Graham. “They had to meet.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp02_amelton_oneuseonly.jpgPhotograph by Audra Melton
Usually six to eight people show up on Tuesday, most of them musicians. There have been as few as three and as many as 20-plus, like the week after Dee died. There’s the occasional soundman, actor, or writer, and they’ve all heard bits of Knapp’s life story, his high-pitched New York rasp conjuring memories and half memories.
Here’s infant Johnny, gliding over lower Manhattan rooftops in the arms of his terrified father, fleeing the cops who wanted to quarantine the child with other polio victims, flatfoots scraping the blacktop. Here’s 12-year-old Johnny, tied to the fire escape so he can’t fall, an accordion on his lap, the voices of Eastern European immigrant women calling from below, through the flapping laundry, “Johnny, Johnny, play us a song.”
Here’s 19-year-old Johnny talking his way into piano lessons from Clarence Adler, Aaron Copland’s private music instructor. And here’s Johnny outside Birdland, calling to Miles Davis, who defies the “Crow Jim” movement—reverse segregation, when a white man had no rights in the country of jazz—and crosses Broadway to hug Johnny. “Miles didn’t give a shit,” says Knapp. “He could be gruff. But if he liked you, he liked you.”
Dee and Johnny were immersed in the 1950s and 1960s New York music scene. He earned big paychecks for society gigs and smaller ones for jazz sit-ins, enough to buy a Mercedes with cash, enough to give away hundreds of thousands of dollars to unlucky musicians—generosity he kept hidden from Dee, “because then she’d know why we’re so poor now. I’d never hear the end of it.”
They moved to Los Angeles, where he played for directors like Robert Altman and Sydney Pollack, movie wrap parties. He still flies out to the coast for similar gigs now and then, though Altman and Pollack (like most of the people he’s ever known or loved) are dead. He can’t remember the names of the directors who hire him now, and he’ll miss seeing James Garner (also dead), who usually stood by his piano and kept him company.
“I’m nose to nose with death,” he says, a little annoyed with Dee for taking her backstage pass to the universe, because 53 years together just wasn’t enough. “I know she’s in a better place. She wanted that. I’ve got to learn to be happier for her, but I can’t help being unhappy for me. If I love her, I guess it’s more important that she is where she needs to be.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp05_amelton_oneuseonly.jpgKnapp’s wedding album
Photograph by Audra Melton
They moved to Atlanta about 30 years ago to be near his mother, who was close to the end, and he became known as a musician’s musician. Every week, still, Knapp plays somewhere, usually as a guest, though he has standing gigs at Northlake Mall and a few retirement homes.
The Tuesday lunches coincide with a late-innings career boost for Knapp, who last year finished work on a musical adaptation of Great Expectations, a project that playwright Bob Merrill left unfinished when he shot himself in 1998. Merrill’s widow is trying to move it into production. Also, Knapp is collaborating with a writer on what may or may not be a musical about the Tuesday gatherings, where every topic is fair game.
Once the subject turned to put-downs. Hampton asked Knapp about the worst criticism he ever received for a performance.
“A guy said to me, ‘You play music like you walk,’” Knapp says, laughing like a man who laughs last, because he’s still got the gig, because he’s still in demand and people are glad for it.
Following a jam last winter with Hampton’s band at Terminal West, a 23-year-old woman made him an offer he physiologically and morally had to refuse. “And then, this guy comes up to me and tells me he drove 75 miles so he could see me play before I die,” Knapp says between sips of decaf. “I told him, ‘Buddy, you made it just in time.’”
This article originally appeared in our December 2015 issue.
Tags: Col. Bruce Hampton (http://www.atlantamagazine.com/tag/col-bruce-hampton/) , Jaz Graham (http://www.atlantamagazine.com/tag/jaz-graham/) , jazz (http://www.atlantamagazine.com/tag/jazz/) , Jim Basile (http://www.atlantamagazine.com/tag/jim-basile/) , Johnny Knapp (http://www.atlantamagazine.com/tag/johnny-knapp/) , music (http://www.atlantamagazine.com/tag/music-2/)
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=61b2263e1f) | 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=61b2263e1f&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
Piano Man: At 87, jazz legend Johnny Knapp is still jamming – Atlanta Magazine
http://www.jazzpromoservices.com/
http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/
** Piano Man: At 87, jazz legend Johnny Knapp is still jamming
————————————————————
*
*
** Knapp has gigged with Billie Holiday and Sarah Vaughan in his seven decade career.
————————————————————
December 15, 2015 (http://www.atlantamagazine.com/great-reads/piano-man-at-87-jazz-legend-johnny-knapp-is-still-jamming/) Jerry Grillo (http://www.atlantamagazine.com/author/jerry-grillo/)
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp01_amelton_oneuseonly.jpgPhotograph by Audra Melton
Johnny Knapp is 87, and he feels it. He moves with a walker, his withered legs powered by wiry forearms and large hands that have flown over piano keyboards for 70 years. It’s Tuesday, and his ride is waiting.
Knapp had polio as a boy. He wears orthopedic shoes to compensate for uneven legs. He paces himself, his gait an iambic meter—one-two, left-right—past relics and mementos, past the gorgeous sculptures he rescued from a trash heap decades ago, a decision he is thankful for now because they remind him of the artist, his wife, Dee, who was never very impressed with her own talents and who died in February.
After the funeral, their son, John, asked his old man to move in with him, to Raleigh, North Carolina, but Knapp refused. “My life is here. I’d miss my friends,” he says. “I’d miss the Tuesday lunch.”
He pushes through his music room—one-two—past the grand piano, past the floor-to-ceiling shelves of CDs, vinyl records, folders filled with compositions, playbills from 1950s Broadway, and hundreds of volumes, including nearly everything Upton Sinclair ever wrote and a few remaining yoga books.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp04_amelton_oneuseonly.jpgPhotograph by Audra Melton
“I gave the rest of them to Charlie Parker when he was in the hospital,” says Knapp, recalling the doomed Bird, their jam sessions, the polio-stricken piano player hosting the heroin-addicted saxophonist, the two of them unearthing and clarifying the melodies hidden within bebop’s frenzy. Parker asked him to go on the road, but Knapp couldn’t afford the pay cut and didn’t care for the drugs. “Yoga helped get me out of my leg braces. I figured it might help Charlie. It didn’t.”
This was around 1955. Knapp figured his worst years were behind him, like the discarded braces. Then he was rehobbled in a car crash several years ago, a bigger bummer than polio because it ended his driving days, making him feel crippled for the first time in his life, leaving him to depend on the kindness of friends—like Atlanta music icon Col. Bruce Hampton, today’s driver for the short trip to a Lilburn IHOP, where a core group of musicians gathers for the Tuesday lunch.
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp03_amelton_oneuseonly.jpgA recent Tuesday lunch at IHOP included, from left, Col. Bruce Hampton, Knapp, Jez Graham, and Jack North.
Photograph by Audra Melton
Mostly they come for Johnny Knapp, who gigged with Billie Holiday and Sarah Vaughan, who ghostwrote songs with legendary tunesmith and playwright Bob Merrill, who was at the Ambassador Hotel in Los Angeles the day Bobby Kennedy was shot, and who performed in places like the Copacabana, Birdland, Basin Street East, and pretty much all of the great jazz clubs, then moved to Hollywood to play for movie stars and class-A directors.
“He’s the Forrest Gump of music,” Hampton says. “He’s been everywhere and done everything and played with everyone. He’s a beast. There are two great jazz piano players in my mind: Art Tatum and Johnny Knapp.”
Hampton has been known to exaggerate. Knapp hasn’t done everything. But he did have his own parking space at the Apollo Theater in Harlem, thanks to a pass that mobsters helped him acquire.
“I made a handshake agreement with a guy called John the Knife to play in his nephew’s band,” Knapp says. “When I told Dee, she couldn’t believe it. She said, ‘You’ve got to get out of that deal. That handshake is for life.’ So I called the guy and tried to be funny. I told him, ‘Mr. The Knife, I’ve reconsidered.’” The mobster sent a couple of associates to see Knapp. Not to renegotiate.
“He wanted them to break my fingers. That’s what they told me,” Knapp says. “But they could see my legs, how I walked, and I think they felt sorry for me. ‘Looks like someone already got to you,’ one of them said. They told me not to make promises I couldn’t keep and left me alone.”
Lunch used to be every other Tuesday. But since Dee died, the guys get Knapp to the IHOP every week. Sometimes Hampton drives him. Sometimes it’s Jim Basile, the longtime Atlanta morning traffic guy who plays a fine bass. Sometimes it’s Jez Graham, the piano player for Francine Reed and the guy who started the Tuesday lunch thing because he wanted Knapp to meet Hampton. “They’re living legends,” says Graham. “They had to meet.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp02_amelton_oneuseonly.jpgPhotograph by Audra Melton
Usually six to eight people show up on Tuesday, most of them musicians. There have been as few as three and as many as 20-plus, like the week after Dee died. There’s the occasional soundman, actor, or writer, and they’ve all heard bits of Knapp’s life story, his high-pitched New York rasp conjuring memories and half memories.
Here’s infant Johnny, gliding over lower Manhattan rooftops in the arms of his terrified father, fleeing the cops who wanted to quarantine the child with other polio victims, flatfoots scraping the blacktop. Here’s 12-year-old Johnny, tied to the fire escape so he can’t fall, an accordion on his lap, the voices of Eastern European immigrant women calling from below, through the flapping laundry, “Johnny, Johnny, play us a song.”
Here’s 19-year-old Johnny talking his way into piano lessons from Clarence Adler, Aaron Copland’s private music instructor. And here’s Johnny outside Birdland, calling to Miles Davis, who defies the “Crow Jim” movement—reverse segregation, when a white man had no rights in the country of jazz—and crosses Broadway to hug Johnny. “Miles didn’t give a shit,” says Knapp. “He could be gruff. But if he liked you, he liked you.”
Dee and Johnny were immersed in the 1950s and 1960s New York music scene. He earned big paychecks for society gigs and smaller ones for jazz sit-ins, enough to buy a Mercedes with cash, enough to give away hundreds of thousands of dollars to unlucky musicians—generosity he kept hidden from Dee, “because then she’d know why we’re so poor now. I’d never hear the end of it.”
They moved to Los Angeles, where he played for directors like Robert Altman and Sydney Pollack, movie wrap parties. He still flies out to the coast for similar gigs now and then, though Altman and Pollack (like most of the people he’s ever known or loved) are dead. He can’t remember the names of the directors who hire him now, and he’ll miss seeing James Garner (also dead), who usually stood by his piano and kept him company.
“I’m nose to nose with death,” he says, a little annoyed with Dee for taking her backstage pass to the universe, because 53 years together just wasn’t enough. “I know she’s in a better place. She wanted that. I’ve got to learn to be happier for her, but I can’t help being unhappy for me. If I love her, I guess it’s more important that she is where she needs to be.”
http://www.atlantamagazine.com/wp-content/uploads/sites/12/2015/12/1215_knapp05_amelton_oneuseonly.jpgKnapp’s wedding album
Photograph by Audra Melton
They moved to Atlanta about 30 years ago to be near his mother, who was close to the end, and he became known as a musician’s musician. Every week, still, Knapp plays somewhere, usually as a guest, though he has standing gigs at Northlake Mall and a few retirement homes.
The Tuesday lunches coincide with a late-innings career boost for Knapp, who last year finished work on a musical adaptation of Great Expectations, a project that playwright Bob Merrill left unfinished when he shot himself in 1998. Merrill’s widow is trying to move it into production. Also, Knapp is collaborating with a writer on what may or may not be a musical about the Tuesday gatherings, where every topic is fair game.
Once the subject turned to put-downs. Hampton asked Knapp about the worst criticism he ever received for a performance.
“A guy said to me, ‘You play music like you walk,’” Knapp says, laughing like a man who laughs last, because he’s still got the gig, because he’s still in demand and people are glad for it.
Following a jam last winter with Hampton’s band at Terminal West, a 23-year-old woman made him an offer he physiologically and morally had to refuse. “And then, this guy comes up to me and tells me he drove 75 miles so he could see me play before I die,” Knapp says between sips of decaf. “I told him, ‘Buddy, you made it just in time.’”
This article originally appeared in our December 2015 issue.
Tags: Col. Bruce Hampton (http://www.atlantamagazine.com/tag/col-bruce-hampton/) , Jaz Graham (http://www.atlantamagazine.com/tag/jaz-graham/) , jazz (http://www.atlantamagazine.com/tag/jazz/) , Jim Basile (http://www.atlantamagazine.com/tag/jim-basile/) , Johnny Knapp (http://www.atlantamagazine.com/tag/johnny-knapp/) , music (http://www.atlantamagazine.com/tag/music-2/)
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=61b2263e1f) | 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=61b2263e1f&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
Santa Claus in the Twilight Zone – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=jTu06Wjnd_M
https://www.youtube.com/watch?v=jTu06Wjnd_M
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Santa Claus in the Twilight Zone – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=jTu06Wjnd_M
https://www.youtube.com/watch?v=jTu06Wjnd_M
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=8ac76793bd) | 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=8ac76793bd&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
Santa Claus in the Twilight Zone – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=jTu06Wjnd_M
https://www.youtube.com/watch?v=jTu06Wjnd_M
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=8ac76793bd) | 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=8ac76793bd&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
PERDIDO – Stan Freeman at the harpsichord – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
Swing the harpsichord: a jazz quartett tune experimenting with alternative sounds, recorded 1951.
Stan Freeman harpsichord, Al Caiola guitar, Frank Carroll bass, Terry Snyder drums
http://PERDIDO – Stan Freeman at the harpsichord – YouTube
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=038ed8cf87) | 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=038ed8cf87&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
PERDIDO – Stan Freeman at the harpsichord – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
Swing the harpsichord: a jazz quartett tune experimenting with alternative sounds, recorded 1951.
Stan Freeman harpsichord, Al Caiola guitar, Frank Carroll bass, Terry Snyder drums
http://PERDIDO – Stan Freeman at the harpsichord – YouTube
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=038ed8cf87) | 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=038ed8cf87&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
PERDIDO – Stan Freeman at the harpsichord – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
Swing the harpsichord: a jazz quartett tune experimenting with alternative sounds, recorded 1951.
Stan Freeman harpsichord, Al Caiola guitar, Frank Carroll bass, Terry Snyder drums
http://PERDIDO – Stan Freeman at the harpsichord – YouTube
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=038ed8cf87) | 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=038ed8cf87&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
Art Carney – ‘Twas The Night Before Christmas (1954) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
https://www.youtube.com/watch?v=AsT8ML0dc10
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=675e866c75) | 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=675e866c75&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
Art Carney – ‘Twas The Night Before Christmas (1954) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
https://www.youtube.com/watch?v=AsT8ML0dc10
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=675e866c75) | 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=675e866c75&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
Art Carney – ‘Twas The Night Before Christmas (1954) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=AsT8ML0dc10
https://www.youtube.com/watch?v=AsT8ML0dc10
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=675e866c75) | 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=675e866c75&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