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Passings: Producer “Snuff” Garrett (1939 – 2015) ~ VVN Music

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http://www.vintagevinylnews.com/2015/12/passings-producer-snuff-garrett-1939.html?utm_source=VVN+Music+E-Mail+Subscribers

** Passings: Producer “Snuff” Garrett (1939 – 2015)
————————————————————

http://2.bp.blogspot.com/-Uslaljo-bVU/VnY7dbr53XI/AAAAAAABCYU/zc6-YzoWHO4/s1600/Garrett%2BCher.jpgThomas Lesslie “Snuff” Garrett, whose productions topped the pop and country music charts throughout the 60’s and 70’s, died on Thursday at his ranch near Sonoita, AZ. He was 76.
VVN Music received the news via the Facebook page of Sundazed Records (https://www.facebook.com/sundazed/) :

Well, crap.. Just received word that my friend, legendary producer Snuff Garrett passed away today. He was a GREAT GUY, and one of best damn folks we ever worked with. A true visionary. RIP, pal. Thanks for your friendship…and thanks for everything.

They later posted a remembrance:

SNUFF GARRETT: re: the first time I ever spoke to Snuff… I was supposed to call him at a specific time. He was at his Idle Spurs Ranch in Arizona… I dialed, he answered, and I started to introduce myself… He stopped me and said, “Bob, before we continue, do you mind if I ask you a question?” I said, “of course not!” He said, “Bob, I have to ask you – are you born again?” I got this sinking feeling, thinking we had just roadblocked. I said, “no Snuff, I’m not…” He said, “Then f%&k yeah, we can do business together!!!”

Garrett worked as a producer for local bands at the age of 15 and, two years later, became a DJ in Lubbock, TX where he met and got to know Buddy Holly. He later moved to KSYD in Wichita Falls, TX where he broadcast a tribute to Holly after his death in a plane crash with Ritchie Valens and the Big Bopper. That broadcast is available via Rock Radio Scrapbook (http://rockradioscrapbook.ca/air1959.html) .
Later in 1959, Garrett moved into the record business, becoming a producer for Liberty Records in Hollywood. First assigned to Johnny Burnette, he went on to work with Bobby Vee, Gene McDaniels, Buddy Knox, Gary Lewis & the Playboys, Del Shannon and others.
He also ventured into recording albums under his own name as The 50 Guitars of Tommy Garrett. Featuring the solo work of guitarist Tommy Tedesco, six of the albums made the Billboard 200 including 50 Guitars Go South of the Border (1962 / #36), Maria Elena (1964 / #94) and 50 Guitars in Love (1966 / #99).
During the 70’s, Garrett worked extensively with Sonny & Cher along with Cher as a solo artist. Later in the decade, he became extensively involved with country music producing hits for Tanya Tucker, Eddie Rabbitt, David Frizzell and Shelly West.
Garrett later became a movie mogul, buying the libraries of RKO and Republic Films in the mid-70’s and capitalizing on the films as the video revolution started with VHS releases through his company Nostalgia Merchant.
Snuff retired in the mid-80’s to his ranch.
A sampling of records produced by Snuff Garrett:
* Cut Across Shorty – Eddie Cochran (1960)
* Dreamin’ – Johnny Burnette (1960 / #11)
* You’re Sixteen – Johnny Burnette (1960 / #8)
* A Hundred Pounds of Clay – Gene McDaniels (1961 / #11)
* Take Good Care of My Baby – Bobby Vee (1961 / #1)
* Rubber Ball – Bobby Vee (1961 / #6)
* Run to Him – Bobby Vee (1961 / #2)
* Tower of Strength – Gene McDaniels (1961 / #5)
* Old Rivers – Walter Brennan (1962 / #5 Pop / #3 Country)
* Chip Chip – Gene McDaniels (1962 / #10)
* The Night Has a Thousand Eyes – Bobby Vee (1962 / #3)
* Charms – Bobby Vee (1963 / #13 Pop / #5 AC)
* Count Me In – Gary Lewis and the Playboys (1965 / #2)
* Everybody Loves a Clown – Gary Lewis and the Playboys (1965 / #4)
* Save Your Heart For Me – Gary Lewis and the Playboys (1965 / #2)
* This Diamond Ring – Gary Lewis and the Playboys (1965 / #1)
* My Heart’s Symphony – Gary Lewis and the Playboys (1966 / #13)
* Gypsies, Tramps & Thieves – Cher (1971 / #1)
* A Cowboy’s Work is Never Done – Sonny & Cher (1972 / #8)
* The Way of Love – Cher (1972 / #7)
* Living in a House Divided – Cher (1972 / #22)
* The Night the Lights Went Out in Georgia – Vicki Lawrence (1972 / #1)
* Half Breed – Cher (1973 / #1)
* Dark Lady – Cher (1974 / #1)
* Lizzie and the Rainman – Tanya Tucker (1975 / #37 Pop / #1 Country)
* San Antonio Stroll – Tanya Tucker (1975 / #1 Country)
* Every Which Way But Loose – Eddie Rabbitt (1978 / #30 Pop / #1 Country)
* Bar Room Buddies – Merle Haggard & Clint Eastwood (1980 / #1 Country)
* Cowboys and Clowns – Ronnie Milsap (1980 / #1 Country)
* A Texas State of Mind – David Frizzell & Shelly West (1981 / #9 Country)
* You’re the Reason God Made Oklahoma – David Frizzell & Shelly West (1981 / #1 Country)
* Another Honky Tonk Night on Broadway – David Frizzell & Shelly West (1982 / #8 Country)
* I Just Came Here to Dance – David Frizzell & Shelly West (1982 / #4 Country)
* I’m Gonna Hire a Wino to Decorate Our Home – David Frizzell (1982 / #1 Country)
* Lost My Baby Blues – David Frizzell (1982 / #5 Country)
* Flight 309 to Tennessee – Shelly West (1983 / #4 Country)
* Jose Cuervo – Shelly West (1983 / #1 Country)
*

https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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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December 21, 2015 / No Comments / More

Passings: Producer “Snuff” Garrett (1939 – 2015) ~ VVN Music

http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2015/12/passings-producer-snuff-garrett-1939.html?utm_source=VVN+Music+E-Mail+Subscribers

** Passings: Producer “Snuff” Garrett (1939 – 2015)
————————————————————

They later posted a remembrance:

https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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)

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

December 21, 2015 / No Comments / More

Passings: Producer “Snuff” Garrett (1939 – 2015) ~ VVN Music

http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2015/12/passings-producer-snuff-garrett-1939.html?utm_source=VVN+Music+E-Mail+Subscribers

** Passings: Producer “Snuff” Garrett (1939 – 2015)
————————————————————

They later posted a remembrance:

https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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)

Jazz Promo Services
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December 21, 2015 / No Comments / More

I Know What You Want For Christmas

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFiWZesd4xQ (https://www.youtube.com/watch?v=PFiWZesd4xQhttps://www.youtube.com/watch?v=Bv2UieD7B0c)

https://www.youtube.com/watch?v=PFiWZesd4xQ
https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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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December 18, 2015 / No Comments / More

I Know What You Want For Christmas

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFiWZesd4xQ (https://www.youtube.com/watch?v=PFiWZesd4xQhttps://www.youtube.com/watch?v=Bv2UieD7B0c)

https://www.youtube.com/watch?v=PFiWZesd4xQ
https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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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December 18, 2015 / No Comments / More

I Know What You Want For Christmas

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=PFiWZesd4xQ (https://www.youtube.com/watch?v=PFiWZesd4xQhttps://www.youtube.com/watch?v=Bv2UieD7B0c)

https://www.youtube.com/watch?v=PFiWZesd4xQ
https://www.youtube.com/watch?v=Bv2UieD7B0c
https://www.youtube.com/watch?v=Bv2UieD7B0c

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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December 18, 2015 / No Comments / More

Review: Catherine Russell Sings Still-Resonant Standards at Birdland – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/18/arts/music/review-catherine-russell-sings-still-resonant-standards-at-birdland.html?emc=edit_tnt_20151217

** Review: Catherine Russell Sings Still-Resonant Standards at Birdland
————————————————————
By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) DEC. 17, 2015

Catherine Russell performing at Birdland. Michelle V. Agins/The New York Times

At a moment when the world can seem dangerously out of balance, it is still possible for a musician to convey a groundedness and a joy that don’t seem smiley-faced and goody-goody. A fine place to find it is Birdland, where the jazz singer Catherine Russell (http://www.npr.org/templates/story/story.php?storyId=126023581) began a short run (http://www.birdlandjazz.com/event/985481-catherine-russell-her-sextet-new-york/) with her sextet on Tuesday evening, projecting a strength, good humor and intelligence that engulfed the room in a mood of bonhomie. She reminded you that even in the most chaotic times, there are oases of calm.

The daughter of Louis Armstrong’s longtime musical director Luis Russell (http://www.redhotjazz.com/russell.html) and the singer Carline Ray (http://www.npr.org/2013/07/23/204814753/carline-ray-a-pioneer-for-women-in-jazz-dies-at-88) , Ms. Russell is steeped in early jazz — from Dixieland to ’40s and ’50s R&B. Ms. Russell is not a nostalgist examining the past for curiosity’s sake. The vintage songs she chose were treated as standards whose sentiments apply as much today as ever.

She made the warmblooded Lil Green song “Romance in the Dark (https://www.youtube.com/watch?v=oDv3s4esXqg) ,” a favorite (https://www.youtube.com/watch?v=UhehLH9qX4I) of Bobby Short that was popularized by (https://www.youtube.com/watch?v=0yz_vmUrQiQ) Dinah Washington, into an affirmation of good sex wound around the sly boast, “Now we will find … what the rest have left behind.” Another Washington favorite (https://www.youtube.com/watch?v=R2pHzMCQ6qg) , “Let Me Be the First to Know,” is a lover’s common-sense plea to a partner to let her know when the magic is dying. “But in this game of romance,” she acknowledges, “forever, forever is a million-to-one chance.” How grown-up is that?

Ms. Russell brought the same cleareyed directness to the Billie Holiday classic “You’re My Thrill (https://www.youtube.com/watch?v=tZJoVPFoYPM) ,” divesting the song of the aura of helpless, besotted dependency associated with Holiday to make it an optimistic declaration of happiness. Another Holiday signature song, “Them There Eyes (https://www.youtube.com/watch?v=fj9bzZFKAUY) ,” taken at a breakneck speed, was pure bliss.

The arrangements led by her musical director, the guitarist Matt Munisteri, left plenty of room for meaty solos by the pianist Mark Shane, Jon-Erik Keliso on trumpet and Evan Arntzen on reeds. Tal Roten played bass, and Mark McLean, drums.

There is no happier music than early jazz performed with spirit, understanding and a sense of fun. Ms. Russell and her crew brought them all.

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December 17, 2015 / No Comments / More

Review: Catherine Russell Sings Still-Resonant Standards at Birdland – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/18/arts/music/review-catherine-russell-sings-still-resonant-standards-at-birdland.html?emc=edit_tnt_20151217

Catherine Russell performing at Birdland. Michelle V. Agins/The New York Times

There is no happier music than early jazz performed with spirit, understanding and a sense of fun. Ms. Russell and her crew brought them all.

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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Warwick, Ny 10990
USA

December 17, 2015 / No Comments / More

Review: Catherine Russell Sings Still-Resonant Standards at Birdland – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/18/arts/music/review-catherine-russell-sings-still-resonant-standards-at-birdland.html?emc=edit_tnt_20151217

Catherine Russell performing at Birdland. Michelle V. Agins/The New York Times

There is no happier music than early jazz performed with spirit, understanding and a sense of fun. Ms. Russell and her crew brought them all.

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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December 17, 2015 / No Comments / More

TONS of jazz LPs and books – Till Dec 20 The ARChive of Contemporary Music

http://www.jazzpromoservices.com/

TONS of jazz LPs and books – especially books – still available. Till Dec 20,

AND this is pretty exciting. Maybe a separate post?

Please join the ARC for it’s first Music Tour to Cuba!
unknown.jpg
Of course it’s more musical than anyone else’s – and we’ll try to make it more fun. It’s coming right up, May 17 – 24, 2016, and you’ll need to get back to us soon to reserve a space.
Most tours offer the same old, same old. You visit the artist that everyone visits, see a touristy cabaret show, take a ride in an old car. Well our goal is to visit during Cubadisco, the island largest musical event, in conjunction with ARC’s Cuba Musical Week, the massive live and online comprehensive exploration of the island’s music.
So it fab food, access to tons of musical events, knowledgeable guides, our own exhaustive guide book, a swim or two, live music everywhere, and maybe a drink with that cigar?
Do join us. It helps fund our valuable work, you’ll have a ball, and a portion of your trip’s costs are tax deductible.
Click here for a short overview of ARC’s Cuban Tour (http://arcmusic.org/news/tour-cuba-with-the-arc/) and pricing
Click here for a link to the ARC Cuban Music Tour day-by-day itinerary (http://arcmusic.org/wp-content/uploads/CubaDisco-Itinerary.pdf) that will automatically download for you to read and print out.
Contact the ARC if you need more info or would like to make a reservation.
212-226-6967 / info@arcmusic.org (mailto:info@arcmusic.org)

Thanks, Bob George

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December 17, 2015 / No Comments / More

TONS of jazz LPs and books – Till Dec 20 The ARChive of Contemporary Music

http://www.jazzpromoservices.com/

TONS of jazz LPs and books – especially books – still available. Till Dec 20,

AND this is pretty exciting. Maybe a separate post?

Thanks, Bob George

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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December 17, 2015 / No Comments / More

TONS of jazz LPs and books – Till Dec 20 The ARChive of Contemporary Music

http://www.jazzpromoservices.com/

TONS of jazz LPs and books – especially books – still available. Till Dec 20,

AND this is pretty exciting. Maybe a separate post?

Thanks, Bob George

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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December 17, 2015 / No Comments / More

Cecil Taylor Residency Planned for NYC’s Whitney Museum

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http://whitney.org/Exhibitions/OpenPlanCecilTaylor

From February 26 through May 14, 2016, the Whitney Museum of American Art will present Open Plan, an experimental five-part exhibition using the Museum’s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.

Pianist Cecil Taylor (b. 1929) is one of America’s most innovative and uncompromising living musicians. A pioneer of free jazz whose work draws on a myriad of different musical styles conveyed through radical improvisation, he will take up residence in the fifth-floor gallery along with friends and fellow performers. This residency will feature a series of live performances amid a retrospective environment that will include documentation of Taylor’s career, including videos, audio, notational scores, photographs, poetry, and other ephemera.

Open Plan: Cecil Taylor is organized by curator and curator of performance Jay Sanders and Lawrence Kumpf, artistic director, ISSUE Project Room, with senior curatorial assistant Greta Hartenstein and Andrew W. Mellon Curatorial Fellow Lauren Rosati.

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December 17, 2015 / No Comments / More

Cecil Taylor Residency Planned for NYC’s Whitney Museum

http://www.jazzpromoservices.com/

http://whitney.org/Exhibitions/OpenPlanCecilTaylor

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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December 17, 2015 / No Comments / More

Cecil Taylor Residency Planned for NYC’s Whitney Museum

http://www.jazzpromoservices.com/

http://whitney.org/Exhibitions/OpenPlanCecilTaylor

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
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December 17, 2015 / No Comments / More

Cecil Taylor Residency Planned for NYC’s Whitney Museum

http://www.jazzpromoservices.com/

http://whitney.org/Exhibitions/OpenPlanCecilTaylor

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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December 17, 2015 / No Comments / More

Gerry Mulligan QT Live @ Eric’s New York, 1981: JazzWax

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http://www.feedblitz.com/

** JazzWax
————————————————————

** Gerry Mulligan: New York, 1981 (http://p.feedblitz.com/r3.asp?l=112071882&f=984327&u=28498183&c=5074107)
————————————————————

http://p.feedblitz.com/t3.asp?/984327/28498183/5074107_/feeds.feedblitz.com/~/t/0/0/jazzwax/~marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d184b299970c-popup
In 1981, baritone saxophonist Gerry Mulligan was working with Harold Danko on piano, Frank Luther on bass and Billy Hart on drums. In February 1981, the quartet was at Eric, a New York Italian restaurant at 1700 Second Ave., at 88th St., that also featured jazz. [Photo above by Carol Friedman] Here’s (http://p.feedblitz.com/t3.asp?/984327/28498183/5074107_/feeds.feedblitz.com/~/t/0/0/jazzwax/~https://www.youtube.com/watch?v=JfOh3QlDxdE) the set, with Mulligan playing soprano sax on Walk on the Water…

http://p.feedblitz.com/r3.asp?l=112071882&f=984327&u=28498183&c=5074107

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Gerry Mulligan QT Live @ Eric’s New York, 1981: JazzWax

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Hugo and Luigi – Rockabilly Party – YouTube

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Hugo and Luigi – Rockabilly Party – YouTube

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Luigi Creatore, Songwriter and Producer, Dies at 93 – The New York Times

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** Luigi Creatore, Songwriter and Producer, Dies at 93
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) DEC. 15, 2015

Luigi Creatore, in dark shirt, and his cousin Hugo Peretti, his songwriting and producing partner, around 1968. Bob Stahman, via Sony Music Archives

Luigi Creatore, a songwriter and record producer who teamed with his cousin Hugo Peretti to create hits for Elvis Presley, Sam Cooke, Perry Como and others, died on Sunday in Boca Raton, Fla. He was 93.

The cause was complications of pneumonia, said his wife, Claire Weiss Creatore.

The son of a renowned Italian immigrant bandmaster, Mr. Creatore began his career by writing advertising jingles and graduated to books, plays and, most notably, songs. His regular partner — they both wrote music as well as lyrics — was Mr. Peretti, who died in 1986; they were occasionally joined by George David Weiss (http://www.nytimes.com/2010/08/24/arts/music/24weiss.html) , who died in 2010.

Mr. Peretti and Mr. Creatore, known professionally as Hugo & Luigi, had their greatest success in the 1960s at RCA Victor Records, where they were among the first producers to have their names prominently displayed on album jackets, complete with their own logo (http://www.bsnpubs.com/nyc/avco/avcohugoluigi.jpg) .

The Hugo & Luigi brand came to be recognized as a symbol of pleasant, hummable pop music by the likes of Mr. Como, for whom they produced several albums, and Little Peggy March, for whom they produced the No. 1 single “I Will Follow Him.” (https://www.youtube.com/watch?v=5JVhbusBDi4)

Their most noteworthy work at RCA, however, was not with a middle-of-the-road pop artist but with one of the great rhythm-and-blues singers of the era, Sam Cooke, who had success with Creatore-Peretti productions like “Chain Gang,” “Twistin’ the Night Away” (https://www.youtube.com/watch?v=7yIMt-aZjCo) and “Wonderful World.”

Before joining RCA, when the two were part-owners of Roulette, they produced a number of hits on the label for the singer Jimmie Rodgers, including “Honeycomb,” (https://www.youtube.com/watch?v=t3ETE1KSAiQ) which reached No. 1 in 1957.

As composers, they wrote two songs that were hits for Elvis Presley in 1961: “Wild in the Country,” from the movie of the same name, and “Can’t Help Falling in Love,” from the movie “Blue Hawaii,” which they wrote with Mr. Weiss.

That same year, Mr. Creatore, Mr. Peretti and Mr. Weiss also collaborated on “The Lion Sleeps Tonight,” an adaptation of the Zulu song “Wimoweh” that was a No. 1 hit for the Tokens (https://www.youtube.com/watch?v=_LBmUwi6mEo) . The song was also featured in the hit movie “The Lion King” and became the focus of controversy and litigation when the estate of Solomon Linda, the composer of “Wimoweh,” sued for royalties that his family said he had been denied. The estate eventually received a sizable settlement.

After leaving RCA Victor in 1964, Mr. Creatore and Mr. Peretti worked with, among other artists, Van McCoy, whose “The Hustle” (https://www.youtube.com/watch?v=wj23_nDFSfE) was a No. 1 single in 1975 and one of the first disco hits.

Luigi Federico Creatore was born in Manhattan on Dec. 21, 1921. His father, Giuseppe, was a Naples-born bandleader whose fame in the United States rivaled John Philip Sousa’s at the time. His mother was the former Rosina De Marinis.

He attended Textile High School and served as a pharmacist’s mate in the Navy. He was stationed at Pearl Harbor when the Japanese attacked on Dec. 7, 1941. That experience was the basis for “The World Is Mine,” his book about a veteran with amnesia. A reviewer for The New York Times described it in 1947 as a “well-written, well-planned first novel.”

Mr. Creatore’s first marriage ended in divorce. His second marriage ended when his wife died. His third wife, Claire, had earlier been married to Mr. Weiss. She married Mr. Creatore after Mr. Weiss died.

In addition to his wife, Mr. Creatore, who lived in Boca Raton, is survived by a son, Victor, from his first marriage.

Mr. Creatore and Mr. Peretti also ventured onto Broadway, with mixed results. They partnered with Mr. Weiss in 1968 on a Civil War musical, “Maggie Flynn,” starring Shirley Jones, which closed after 73 performances. They did better in 1977, when they won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for producing the original cast album of the musical revue “Bubbling Brown Sugar.”

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Luigi Creatore, Songwriter and Producer, Dies at 93 – The New York Times

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http://www.nytimes.com/2015/12/16/arts/music/luigi-creatore-songwriter-and-producer-dies-at-93.html?_r=0

Luigi Creatore, in dark shirt, and his cousin Hugo Peretti, his songwriting and producing partner, around 1968. Bob Stahman, via Sony Music Archives

The cause was complications of pneumonia, said his wife, Claire Weiss Creatore.

In addition to his wife, Mr. Creatore, who lived in Boca Raton, is survived by a son, Victor, from his first marriage.

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Luigi Creatore, Songwriter and Producer, Dies at 93 – The New York Times

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http://www.nytimes.com/2015/12/16/arts/music/luigi-creatore-songwriter-and-producer-dies-at-93.html?_r=0

Luigi Creatore, in dark shirt, and his cousin Hugo Peretti, his songwriting and producing partner, around 1968. Bob Stahman, via Sony Music Archives

The cause was complications of pneumonia, said his wife, Claire Weiss Creatore.

In addition to his wife, Mr. Creatore, who lived in Boca Raton, is survived by a son, Victor, from his first marriage.

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Luigi Creatore, Songwriter and Producer, Dies at 93 – The New York Times

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http://www.nytimes.com/2015/12/16/arts/music/luigi-creatore-songwriter-and-producer-dies-at-93.html?_r=0

Luigi Creatore, in dark shirt, and his cousin Hugo Peretti, his songwriting and producing partner, around 1968. Bob Stahman, via Sony Music Archives

The cause was complications of pneumonia, said his wife, Claire Weiss Creatore.

In addition to his wife, Mr. Creatore, who lived in Boca Raton, is survived by a son, Victor, from his first marriage.

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“Ornette at Prince Street”: A Glimpse from the Archives

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http://www.pointofdeparture.org/PoD53/PoD53Ornette.html

** “Ornette at Prince Street”: A Glimpse from the Archives
————————————————————
“Ornette at Prince Street”: A Glimpse from the Archives
by Brent Hayes Edwards and Katherine Whatley

Ed Blackwell, Dewey Redman, Ornette Coleman, Charlie Haden, May 1971.
©Val Wilmer/CTSIMAGES. All rights reserved.

Despite the significance of the six years Ornette Coleman spent at 131 Prince Street, the history of his SoHo period remains surprisingly murky. Even the major Coleman biographies offer very little in the way of documentation of the loft Ornette came to call Artist House, whether with regard to the dates the space was active, the range of concerts and events held there, or its links to the burgeoning downtown arts scene or to the emergence of “loft jazz” in musician-controlled venues scattered across lower Manhattan in the mid-1970s.^1 There is even widespread confusion about the seemingly simple matter of what Ornette called his performance space, with the name often garbled in a rustle of near approximations: “Artist’s House,” “Artists’ House,” “Artists House.”
There was some sporadic coverage of the goings-on at 131 Prince in New York newspapers, above all in the Village Voice. But as with other “lofts” including Ali’s Alley, Studio Rivbea, the Ladies Fort, Studio We, and Environ, some of the most thorough coverage is to be found in the foreign jazz press, especially from Western Europe and Japan. The lavishly illustrated article translated below is a tantalizing depiction of Ornette’s space that may be one of the first journalistic accounts of 131 Prince Street in any language.

“Ornette at Prince Street” was published in the October 1969 issue of Swing Journalin Tokyo. Indeed, the author of the article, Kiyoshi Koyama, served as the editor-in-chief of the periodical from 1967-1981 (and then again from 1990-1993). Swing Journal is a particularly rich source of information about jazz in downtown New York in the 1970s in part because Koyama himself visited the city nearly every year. As a journalist, Koyama explained recently, “My style is to meet a musician and see his home, and find out how they live. That shows me another side of the musician. That’s interesting to me. That’s why I visited Ornette’s place, too. You can find a different side of a musician from the one on stage.” The men had met in October 1967 when Coleman performed in Japan for the first time. After the concert, Koyama invited Ornette over to his tiny apartment and introduced him to sushi (Ornette said “he liked it, but he didn’t like the black seaweed,” Koyama recalls with some
amusement).^2
Though brief, the article provides a number of invaluable details regarding 131 Prince Street. As Koyama reports, Ornette had acquired the space in April 1968 and undertook major renovations, which were still underway the following summer when Koyama visited. In fact, Coleman bought shares in the co-op that purchased the seven-story building giving him rights to not one but two floors, each of them a cavernous 3500-square-foot open space only divided by six thick wood pillars. “Originally,” as Barry McRae has noted, Ornette “took the second and third floors of the building but later agreed to take over the first (ground) floor for his own work.”^3Koyama had the opportunity both to observe a rehearsal of Coleman’s group in the unfinished ground-floor space and to go up to the living space in the third-floor loft.

As Koyama recounts, he visited 131 Prince only a few days after the Impulse! Records recording session for one of the great rarities of the Ornette Coleman discography, a single released only in Europe that included the tracks “Man on the Moon” and “Growing Up.” Interestingly, this record — recorded on July 7, 1969, and apparently made in anticipation of the Apollo 11 moonshot, which was scheduled to launch a few days later on July 16^4 — is itself something of an artifact of 131 Prince, since it captured the collaboration between Coleman and the other composer in the building, Emmanuel Ghent, who lived with his wife Natasha and their three daughters
on the fifth floor. A French Canadian composer as well as a practicing psychoanalyst, Ghent became known in the 1960s for a series of chamber works using multi-tempo rhythmic relationships among the players (he invented a device called the “coordinome,” which transmitted a separate metronome click track through earphones to each of the performers so that they could play in different tempi). With the assistance of a Guggenheim Fellowship in 1967 — coincidentally the same year Coleman was awarded the first Guggenheim for jazz composition — Ghent started working at the Columbia Princeton Electronic Music Center and then, in 1969, began a ten-year residency at the electronic music studio of Bell Telephone Laboratories. His work at Bell took advantage of their groundbreaking GROOVE Computer System, which was designed to allow real-time control over both musical and lighting effects.^5
According to the session records filed with the American Federation of Musicians, on July 7 Ornette Coleman, Don Cherry, Dewey Redman, Charlie Haden and Ed Blackwell recorded two tracks at Town Sound Studios in Englewood, New Jersey, working with audio engineer Orville O’Brien. On one of the tracks, “Man on the Moon,” Ornette’s quintet plays against the backdrop of a pre-recorded selection of electronic music made by Ghent,^6 and Coleman takes a long solo feature in the middle section of the tune. As Ben Young has observed, “Man on the Moon” is notable first of all because it features an extended ensemble improvisation at the close of the track (indeed, the tune contains as much tutti improvisation as any Coleman recording since the double quartet of the classic 1960 LP Free Jazz).^7 The record may have been simply an occasional piece, or it may have served as a promotional tool for Ornette at 12, the full-length album Impulse! released about the same time.^8
Here is the text of Koyama’s article in full:

Ornette at Prince Street
One day in July, Ornette Coleman said to us, “Do you want to come over to my loft?” So we visited his new home in New York’s SoHo, near Greenwich Village.

A DAY WITH ORNETTE:
Ornette’s new life
In the ten years since Ornette Coleman has moved to New York, he has lived in hotels. The reason he bought the first and third floors of a building on Prince Street last April was because he decided to make New York his home.
New environments sometimes have the power to change people. I hadn’t seen Ornette in two years, and this time he seemed physically stronger and happier than before. When we visited on July 12th at ten thirty in the morning, his pet myna bird welcomed us with a “Good morning!” The conversation quickly centered on Ornette’s recording session that same week for ABC Records. He said he spent six hours recording Growing Up and Man on the Moon with his quintet. The electronic music of Emmanuel Ghent, a contemporary music composer (who lives in the same building as Ornette) plays a large role in these tunes.
The record came out as a single at the end of July, and it is a great recording that is reminiscent of Chappaqua Suite. In September, a live recording of a concert done at New York University this past spring went on sale as a two-record set.

Charlie Haden, Ed Blackwell, Don Cherry, Ornette Coleman, and Dewey Redman in rehearsal.
Swing Journal (October 1969). Photo by Takahashi Arihara.

Charlie Haden and Don Cherry eventually wandered in with their instruments. Ornette wanted to show us how a typical rehearsal went. He says they rehearse once or twice a week. Other than that, he thinks about music, plays billiards, and composes.
IT WAS BEAUTIFUL, ORNETTE:
A three-hour rehearsal

Don Cherry, Charlie Haden, Ornette Coleman, and Ed Blackwell in rehearsal.
Swing Journal (October 1969). Photo by Takahashi Arihara

Rehearsals are held on the first floor, in the warehouse-like rehearsal space. The music stands and instruments were set up in the middle of the almost 3500 square foot space. Ornette handed out a number of his new compositions to the band, and played them the themes of each tune. Don Cherry, Dewey Redman, Charlie Haden, and Ed Blackwell listened intently with their ears cocked. In a short while Don and then everyone else in the band joined in with Ornette and tried to figure out the theme, until Ornette stopped and said, “That’s not quite it, Ed, you put the accent here.” In Ornette’s music, percussion plays a large role. They began practicing the theme again. This time, Don turned to Ed and said “Here, now!” Then Ornette played his solo, and Don had an expression of delight. The three-hour rehearsal had gone by so quickly.

Don Cherry and Ed Blackwell outside 131 Prince Street.
Swing Journal (October 1969). Photo by Takahashi Arihara.

131 Prince Street, New York, NY His new home on Prince Street
When we visited, Ornette’s home was still being remodeled. He bought it last April, and his architect friend is turning the third floor into a loft apartment. Underneath the window facing Prince Street are a pool table, a stereo, and a desk for composing. In the middle of 3500 square foot room there is a large table, while on the other side there is Ornette’s bed, a sauna, and a shelf with tapes and records. The kitchen, still under construction, is surrounded by a mazelike group of walls. The whole set-up feels a lot like an art gallery. Even the elevator door is a piece of art!

Ornette composing.
Swing Journal (October 1969). Photo by Takahashi Arihara.

Ornette at the pool table.
Swing Journal (October 1969). Photo by Takahashi Arihara.

Ornette loves purple. The curtains on his walls were light purple, and even the vest he was wearing that day was purple. He is also very interested in Eastern furnishings. Behind the pool table is a Chinese folding screen Ornette bought in San Francisco.
We wondered if the beautiful white woman who prepared Ornette’s breakfast and made us tasty sandwiches is Ornette’s new wife, especially since the entire band was making her feel welcome. It was this woman who let us know that the sauna and kitchen were not quite done yet.^9
On the way out, Ornette said again that he wants to bring this group to Japan. See you again in Japan, Ornette! Thank you!^10

Although Koyama writes that the third-floor space was “still being remodeled” in July 1969, the loft nonetheless appears comfortable, even sumptuous, in the accompanying photos (by Takahashi Arihara) of Ornette by the billiard table and composing at a table.
The photos of the rehearsal on the ground floor make it clear that the space remained raw and unfinished. This was still the case nearly two years later in May 1971, when Valerie Wilmer took what may be the most iconic photo of Ornette at 131 Prince, sitting at a table and smiling at Dewey Redman in the midst of a rehearsal with Ed Blackwell and Charlie Haden. It is a memorable image not only because it seems to capture the warmth and commiseration of the men’s working relationship, but also because seems to imply a link between that collaborative spirit and the setting — as though that relaxed intensity was engendered by, or flourished in, the stark, open atmosphere of a prototypical loft, airy and unadorned.
Note, too, that Koyama does not mention the phrase “Artist House” in his article. While there was certainly activity on the ground floor of 131 Prince Street in the early years — including the best known of the handful of albums recorded there, Friends and Neighbors: Ornette Live at Prince Street, which was made on 14 February 1970^11— Coleman started using the name Artist House only in the spring of 1972.
The ground floor was renovated sometime in the second half of 1971, and the following year Artist House began to offer a steady program of advertised concerts and art exhibitions. Between 1968 and 1972, though, 131 Prince was a space defined above all by its informality. The loft was a gathering space without anything like a name — an artist’s house before “Artist House,” in other words. In the early years, Ornette’s loft served as the intermittent rendezvous of an underground coterie, less a public than a loose-knit personal and professional network that came together for performances only open to those in the know. There were rehearsals there, impromptu jam sessions, even makeshift concerts, but they do not seem to have been advertised, even in a semi-underground fashion (with crude flyers pasted to lampposts, say, or rudimentary newspaper ads).
At the same time, and perhaps paradoxically, these happenings were not exclusive, and people did often hear the music and wander in off Prince Street. (When one looks closely at the Valerie Wilmer photo, one notices that there is a man sitting casually on the floor behind Ornette, listening to the rehearsal.) In this sense, activities at 131 Prince in the early years were not unrelated to activities in the lofts and studios of an entire generation of artists living and working in lower Manhattan, although of course not all their networks overlapped. In the words of the influential theater director Robert Wilson, “in the ’60s and early ’70s artists performed for ourselves. Our audiences were other artists: dancers, composers, painters, sculptors, architects, designers. From the mid ’70s to mid ’80s this work began to find a larger audience and the spirit was slowly dissipated.”^12
The Revolutionary Ensemble (Jerome Cooper, Leroy Jenkins, Sirone), Artist House, June 1974.
©Raymond Ross Archives/CTSIMAGES. All rights reserved.
Things certainly did change when Ornette decided to turn the ground floor of 131 Prince into a formal concert space and art gallery. In July 1970, Ornette asked his cousin James Jordan to come to New York to help manage his affairs, and over the next year and a half Jordan was crucial to making 131 Prince into more of a public venue, first by cleaning and renovating the downstairs loft and then by booking a regular calendar of events, providing minimal accoutrements for audiences — cushions, pillows, and rented folding chairs — and advertising in the Village Voiceand other periodicals. A number of
reviews from the period noted the difference when Ornette began having concerts in his “gallery-performance loft on Prince Street”; one Voice article described the loft, “decorated with striking tapestries,” as a “sentient environment in itself.”^13
This is not to imply that the all “lofts” were necessarily on a path to becoming formal institutions. On the contrary, many were conceived and organized in ways that were directly opposed to the model of the commercial nightclub. Some, including Artist House, made a conscious decision not to serve alcohol, for instance, much less seek a liquor license. Likewise Ornette’s loft was presented as an art gallery as much as a music venue, and there were openings for shows by downtown painters and sculptors including Grace Williams, Joe Barnes, and Viviane Browne as well as African diasporic artists such as the Nigerian painter and fabric artist Z. K. Oloruntoba, and thematic shows with titles such as “Decorative Textiles and Costumes of Third World Societies.”
Kiyoshi Koyama visited 131 Prince Street again a few years later, after it had been renovated and was functioning as Artist House. In February 1973 the US State Department sponsored a “USA and All That Jazz Tour” for a group of foreign jazz journalists, providing a select group of writers with an introduction to various jazz spots in cities around the country. In New York, in addition to paying a visit to the eminent eighty-six year old composer and pianist Eubie Blake, the group was also given a private reception at Artist House on February 27 in which Ornette sat for an extended group interview.^14 In an unexpected surprise, Ornette arranged to have the South African pianist Dollar Brand (Abdullah Ibrahim) perform a solo concert for the journalists. Another of the writers in the group, Richard Williams, later described this occasion in lush and evocative detail:

Calmly, the South African seated himself at grand piano in the middle of the light, spacious loft while the visitors drew up their chairs in a semi-circle around him. He placed his hands together, bowed his head for a moment, and then he began. Perhaps he played for ten minutes, or perhaps it was half an hour. Nobody in that room would have been able to say which.
He began with a hymn tune direct from the African Methodist Episcopal Church in which he worshipped and sang as a child: a slow, wise tune, its melody moving with a graceful inevitability, supported by simple harmonics that resonated with the richness of entire choirs. Then he changed gear, into dance tune that moved to a swaying, sinuous beat and gathered momentum until it sounded like a whole township stepping out. Changing up again, his hands began to hammer great tremolos at both ends of the keyboard, the air in the room seeming to shimmer and the floor to shudder as his big fingers rolled harder and harder in a gigantic crescendo until suddenly bright treble splashes fell across the dark patterns, like sudden bursts of sunlight piercing a storm. Now pure energy took over, the melodies broken into angular abstract figures which leaped and tables and fought with a ferocious intensity, bypassing the logic centers of the brain to reach some place that responds only to
kinetic stimuli. Just when it seemed that the intensity might burst the windows, Ibrahim came off the throttle, returned to the doubled-handed tremolos, rewound slowly and with infinite care through the dance tune and the hymn, and deposited us back where he had found us, in silence — except that the silence now sounded completely different. As each listener raised his head, he saw something in the others’ eyes: an emotion that linked the German, the Brazilian, the Japanese and the Englishman to the most profound recesses of what Hoagy Carmichael called jazz’s “deep, dark blue centre.” Thanks to a South African pianist in a New York loft, they had touched the core.^15

On March 3, the day before he returned to Tokyo, Koyama went out to dinner alone with Ornette. In what may well have been an oblique and belated gesture of reciprocation for his introduction to sushi in 1967, Coleman took his Japanese friend to a renowned soul food restaurant called the Little Kitchen on 10th Street and 1st Avenue in the East Village. The restaurant — a sort of speakeasy after the fact: would-be diners had to buzz to request entry — was located in a walk-up railroad apartment that was almost laughably cramped, with hardly enough room for a dozen diners, a jazz trio in a corner, and a tyrannical Southern woman in a red wig known as Princess Pamela who presided capriciously over the scene, barking orders at her cook, occasionally belting out a blues or a Tin Pan Alley song.^16 Koyama recalls that Ornette asked him whether the journalists had enjoyed themselves at the reception. “Of course we enjoyed ourselves,” Koyama reassured him. “Even though we only spent a
few hours at your loft, many of them said that the time there was the most memorable part of the trip.” Ornette looked pleased and said, “I’m glad about that.”
Five years earlier, the first time Koyama visited New York, he had given Coleman a Japanese sutra, a gift that the musician found deeply moving. “Ornette reacted as though it were a treasure for which he had been searching for years,” Koyama recounted later. “His eyes lit up and, without asking what it was, he carefully put it in his inner pocket of his suit jacket. Then he said, ‘The next time you come to my house, I’ll give you one of my Bibles.’” (Reflecting back on this enigmatic promise, Koyama recently mused, “Unfortunately I didn’t ask him what he meant by this.”) It seems that the topic was still on Ornette’s mind in 1973: during their dinner at the Little Kitchen, Ornette asked Koyama how he could obtain a Japanese sacred text, explaining that had had become very interested in world religions.^17 The two men spent much of the evening discussing spirituality.
These brief encounters in 1969 and 1973 provide only modest glimpses into the history of 131 Prince Street. Coming a year after he obtained the space and then a year before he lost it, Koyama’s visits are a reminder that the entire span of Ornette’s tenure was actually quite brief. In the end, advertised concerts and exhibitions were held at Artist House only until the early summer of 1974. Ornette lost the ground floor space later that year after a still-mysterious legal conflict involving noise complaints from residents in the area. He sold the third-floor loft slightly later. (Whereas Coleman was evicted from the ground floor after refusing to participate in legal proceedings, the court allowed him a grace period to sell the third floor, which he did with the help of his manager and record producer John Snyder.)^18 Although the space became legendary and served as a direct influence on musicians who opened “loft” performance spaces in subsequent years such as Rashied Ali —
whom Ornette allowed to organized at least one concert at Artist House before Ali opened his own space, Ali’s Alley, on Greene Street — in fact the active life of Artist House was by any measure a short one. Nevertheless Koyama’s reminiscences of these fleeting encounters are a unique and indispensable record of two moments in the course of what can only be considered a remarkable experiment: the effort by one of the great musicians of the twentieth century to create a sort of open house for artists — a big room that was at once an atelier, a beachhead, and a retreat for creative work in the midst of a rapidly transforming city.
Ornette’s Myna bird. Bob Thiele
Notes
^1See John Litweiler, Ornette Coleman: The Harmolodic Life (New York: William Morrow & Co., 1993), 132, 137-38, 154-55; Barry McRae, Ornette Coleman (London: Apollo, 1988), 56; Peter Niklas Wilson, Ornette Coleman: His Life and Music(Berkeley: Berkeley Hills Books, 1999), 52.
^2 Katherine Whatley, interview with Kiyoshi Koyama, Tokyo, Japan, July 2015. (This interview was conducted in English.)
^3 McRae, Ornette Coleman, 56.
^4 It is usually assumed that the title “Growing Up” is a reference to Coleman’s son Denardo, who began performing as a drummer with his father’s ensembles with the 1966 album The Empty Foxhole and the 1968 Ornette at 12. However, Ben Young’s research in the American Federation of Musicians archives has revealed that on the original union contract, the title is listed as “Going Up,” which would imply the tune could be another acknowledgement of the flight of Apollo 11. Whatever the original conception, all subsequent information after the first union contract lists the title as “Growing Up.” Ben Young, “Man on the Moon,” unpublished memo, 8 September 2015.
^5 Amanda MacBlane, “Obituary: Computer Music Composer, Psychoanalyst Emmanuel Ghent, 77,” New Music Box (April 7, 2003), available online at http://www.newmusicbox.org/articles/OBITUARY-Computer-Music-Composer-Psychoanalyst-Emmanuel-Ghent-77/. Accessed 15 October 2015.
^6 On 17 January 1972, Ghent presented a “concert of electronic music” at the original location of the Kitchen on Mercer Street that included a selection called “MOONWALK,” described in the program notes as “a collage of studies for MAN ON THE MOON by ORNETTE COLEMAN together with tape sounds by Emmanuel Ghent in the record of that name.” Program notes, the Kitchen, 17 January 1972, Emmanuel Ghent papers, courtesy of Valerie Ghent.
^7 Ben Young, “Man on the Moon,” unpublished memo, 8 September 2015.
^8 Ornette Coleman, Man on the Moon / Growing Up (Impulse! 45-275, 1969). Two other Coleman LPs on Impulse! were recorded earlier (and apparently licensed for release): Ornette at 12 (Impulse! AS-9178, 1969) in the studio on 16 July 1968, and Crisis (Impulse! AS-9187) at a concert at NYU on 22 March 1969. It is not clear whether Ornette at 12 and Man on the Moon / Growing Up were released simultaneously or, if not, which came out first. Crisis, however, was not released until 1972, for reasons that remain unknown. Ben Young’s research in the Impulse! session ledgers indicates that there was also another Coleman recording session for Impulse! on 24 July 1969 at A&R Recording in New York, in which the same band that performed the 22 March concert at NYU is listed as having recorded a number of the same tracks from that concert (“Broken Shadows”; “Comme Il Faut”; “Space Jungle”). It seems possible that either Impulse! or Coleman himself wanted higher-fidelity studio versions of
some or all of the pieces the quintet (with Don Cherry, Dewey Redman, Charlie Haden, and Ornette’s son Denardo) had played in concert. Ben Young, “Man on the Moon” (part 2), unpublished memo, 21 November 2015.
^9 While the identity of this woman remains unknown, she was not “Ornette’s new wife.”
^10 Kiyoshi Koyama, “Ornette at Prince Street,” Swing Journal (October 1969), translated from Japanese by Katherine Whatley.
^11 Ornette Coleman, Friends and Neighbors: Ornette Live at Prince Street (Flying Dutchman FDS-123, 1970). According to Barry MacRae, this release may not have been authorized by Coleman. See McRae, Ornette Coleman, 56. Most significant with regard to the history of Artist House is that the photographs by Bob Thiele included in the gatefold LP of Friends and Neighbors — in which one can see the pool table as well as the ornate screen also on view in the Swing Journal images — make it obvious that the concert was recorded in Ornette’s third-floor living space, not on the ground floor, which would become Artist House.
^12 Robert Wilson, quoted in New York Noise: Photographs by Paula Court, ed. Karen Tate (London: Soul Jazz Publishing, 2007), 200.
^13 Melinda Abern, “Up from the Pseudo-Bohemian Cellar: New Jazz Clubs and Centers,” Village Voice (January 4, 1973): 34.
^14 Kiyoshi Koyama, “America and All That Jazz” (part 2), Swing Journal (June 1973), translated by Katherine Whatley. According to this article, the journalists on the tour included Eric Childs (Australia), Richard Williams (England), Dan Morgenstern (then an editor at Down Beat, and one of the organizers and tour leaders), and others from France, Brazil, and Mexico.
^15 Richard Williams, Introduction, Jazz: a Photographic Documentary (London: Studio Editions, 1994), 7-8. Williams also mentions this occasion in a post on his blog: see Richard Williams, “131 Prince Street,” blogpost, http://thebluemoment.com/2013/07/08/131-prince-street/. Accessed 20 August 2015.
^16 Koyama, “Conversation with Ornette” (2008), unpublished essay, translated by Katherine Whatley. After customers had begged her for years for her recipes, Princess Pamela finally released a cookbook, Princess Pamela’s Soul Food Cookbook(New York: Signet, 1969), which interspersed recipes for “Fried Chicken—Southern Style,” “Black-Eyed Peas & Ham Hocks,” and “Scrapple” with her “earthy observations on life,” such as: “I won first prize with my bakin’ / and every woman ask for my pecan pie recipe / and every man for my home address.” On the Little Kitchen, see also “Food writers looking for remembrances of Princess Pamela,” EV Grieve (April 11, 2014), http://evgrieve.com/2014/04/food-writers-looking-for-remembrances.html; Tom Bass, “Pork Chops at Prince Pamela’s,” Bass Cave(November 2010), http://basscave.blogspot.com/2010/11/pork-chops-at-princess-pamela.html.
^17 Koyama, “Conversation with Ornette.” Koyama goes on to conjecture that Ornette’s interest in religion may have been part of the motivation for his trip — only a month earlier, in January 1973 — to Morocco, where he famously played with the Master Musicians of Joujouka.
^18 Brent Edwards, phone interview with John Snyder, 5 October 2015.
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