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Pete Seeger’s Rainbow Quest – Mamou Cajun Band (Full Episode) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=jkPmTzjIr2s
https://www.youtube.com/watch?v=jkPmTzjIr2s
Atlantic Magazine
** Rainbow Quest (http://www.theatlantic.com/entertainment/archive/2014/01/-em-rainbow-quest-em-pete-seegers-strange-magical-1960s-tv-show/283406/) : Pete Seeger’s Strange, Magical 1960s TV Show (http://www.theatlantic.com/entertainment/archive/2014/01/-em-rainbow-quest-em-pete-seegers-strange-magical-1960s-tv-show/283406/)
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The ultra-collaborative folksinger wasn’t quite sure what to make of the television medium. But for a brief period, he made it entirely his own.
** Rainbow Quest: Pete Seeger’s Strange, Magical 1960s TV Show
————————————————————
* JENNIE ROTHENBERG GRITZ (http://www.theatlantic.com/author/jennie-rothenberg-gritz/)
*
* JAN 28, 2014
*
A member of the Mamou Cajun Band takes a break from his Rainbow Quest set to show Seeger a photo of his children.
“What’s good about folk music,” wrote Pete Seeger in a 1974 issue of Sing Out! (http://singout.org/magazine.html) magazine, “is that it is not show business. … It should be the fiddle or guitar, bongo drum or harmonica that’s brought out after supper dishes are cleared away and families make their own music, rather than switching on the magic screen.”
But for a brief period in the mid-1960s, Seeger hosted his own program on the “magic screen.” The show was called Rainbow Quest (named after a line in one of Seeger’s songs (http://www.peteseeger.net/goldthred.htm) ). Despite the colorful title, it was filmed in black and white, in a New Jersey studio with no audience, and broadcast over a Spanish-language UHF station. Seeger’s wife, Toshi, was listed in the credits as “Chief Cook and Bottle Washer.”
Even with this bare-bones production, Seeger clearly found the new medium disorienting. “You know, I’m like a blind man, looking out through this little magic screen,” he said at the start of the first episode, gazing awkwardly into the camera. “And I—I don’t know if you see me. I know I can’t see you.” Over the next 10 minutes, he alternated between noodling gorgeously on his banjo and explaining his distrust of the “little box” that sat in every American living room, killing ambition, romance, and human interaction.
But then he started talking about Huddie Ledbetter and giving his invisible audience an impromptu 12-string guitar lesson. And then the Clancy Brothers showed up in their big woolly sweaters and performed a rousing set of Irish tunes. At that point, Seeger seemed to settle into his comfort zone—a natural state of admiration and delight.
That joyful expression stayed on Seeger’s face through most of the show’s 39 episodes. Seeger particularly liked to quiz the musicians on their apparatus. “You’ve got a strange instrument here. I don’t think I can hold my curiosity any longer,” he told the indigenous Canadian singer Buffy St. Marie, (https://www.youtube.com/watch?v=DkWMC2zS1fU) who happily explained how her traditional mouth bow had evolved out of a hunting weapon.
In another episode, Seeger brought together two unlikely performers: the blind 70-year-old blues musician Reverend Gary Davis and the 19-year-old Scottish flower child Donovan. After a couple of songs, Seeger asked Donovan’s accompanist, Shawn Phillips, to show Davis how his sitar worked. “Hold it up closer so he can feel it,” Seeger instructed, and then watched the interaction with obvious amusement.
At some point in every episode, Seeger would lean forward, as if unable to restrain himself, and ask whether he could play along. He joined in as respectfully as he sat back—picking out chords as Johnny Cash crooned (https://www.youtube.com/watch?v=GDBtrzka2X4) , harmonizing as Judy Collins took the lead. After Collins performed “Turn, Turn, Turn”—a song Seeger himself had written—he responded with simple appreciation: “Gee, how proud that makes me.”
Rainbow Quest didn’t last long. Its single season ran again on public television a few years later, and in the 1980s a few thousand copies came out on VHS. But thanks to YouTube, many of the episodes are now available online, and every one of them is well worth watching. The show may have been a fleeting and ambivalent experiment in Seeger’s long life. But it represents the very best of both the man and the medium. Through his signature combination of charisma and humility, he managed to turn television into something collaborative. When Pete Seeger was in front of the camera, the “magic screen” became truly magical.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz pioneer receives lifetime achievement award
http://www.jazzpromoservices.com/
http://yaledailynews.com/blog/2015/12/07/jazz-pioneer-receives-lifetime-achievement-award/
** Jazz pioneer receives lifetime achievement award
————————————————————
MAYA CHANDRA (http://yaledailynews.com/blog/author/mayachandra/) DEC 07, 2015
CONTRIBUTING REPORTER
Yale School of Music professor Willie Ruff ’53 YSM ’54 was presented with the C. Newton Schenck III Award for Lifetime Achievement award at the Arts Council of Greater New Haven Friday.
Arts Council Executive Director Cindy Clair said Ruff’s national prominence as a jazz figure, his lengthy teaching career and his work with the Duke Ellington Fellowship program — an initiative that brings world-renowned jazz musicians to Yale and New Haven Public Schools -— made him an excellent candidate for the award at the Arts Council’s annual Art Awards Luncheon this past weekend.
Ruff, who played the French horn and double bass alongside pianist Dwight Mitchell for more than 50 years, accompanied Duke Ellington, Miles Davis and Dizzy Gillespie and other world-famous jazz musicians throughout his roughly 60-year career. But despite rubbing shoulders with the biggest names in jazz and being a leader in the genre, Ruff, who joined the Yale faculty in 1971, remains down-to-earth and high spirited.
“[Teaching], well that’s what I do for fun anyways,” Ruff said with a laugh in an interview with the News. “I don’t know what I’ll do when I grow up.”
Ruff’s music career began in Alabama, where he was raised studying the drums under the guidance of an older boy in his neighborhood. When Ruff’s mentor was drafted for World War II, Ruff was left with the boy’s drum set and a thirst to join the war effort. Ruff lied about his age to enlist in the armed forces, eventually becoming a sergeant at the Lockbourne Air Force Base, which is famous for housing the famed African-American military pilots known as the Tuskegee Airmen.
Ruff hoped to play drums for the military band. But being young and inexperienced, he was passed over for the position.
“I got fired,” Ruff said. “I found out that I could stay in the band if I learned to play an instrument nobody else wanted to play, which was the French horn. So I did.”
Ruff said he chose to come to Yale after the war because he heard that his idol, acclaimed jazz musician Charlie Parker, once mentioned in passing that he would have liked to attend Yale. Ruff said his matriculation at Yale, an honor he shared with a fellow lieutenant from his air base, was a victory for African-Americans.
“We elevated the population of our race by 20 percent,” he said. “If you do the math, you will know how many of us were around [before].”
Ruff’s career took off shortly after. He said he and Mitchell were awarded the opportunity to play with many of the greatest jazz musicians of the day because he and Mitchell were the cheapest act to hire.
Ruff travelled with the Yale Russian Chorus to the Soviet Union in 1959, the height of the Cold War, and learned Mandarin in the 1980s so he could give talks during his jazz tour in China. Ruff has also influenced musicians in the Elm City. Jonny Allen YSM ’14 said he played for Ruff once before, and a compliment Ruff gave him has stayed with him until today. Ruff said his “crowning good fortune” was the establishment of the Duke Ellington Fellowship in 1972. Ruff convinced then-University President Kingman Brewster, to honor the contributions of 40 African-American musicians in a ceremony. Jazz artists Duke Ellington, Dizzy Gillespie, Marian Anderson and many others came to Yale from across the country for this ceremony. The program, now in its 43rd year, continues to bring successful jazz artists to Yale and New Haven public schools.
Though Yale does not have a performance degree in jazz, Deputy Dean of the School of Music Melvin Chen said his faculty consider jazz a very important part of classical music and music in general.
“There is no doubt that it is the indigenous American music … It is important that [students] get an education on jazz and its importance in American music,” Chen said.
Ruff said much has changed since he was a student at Yale. Though jazz is still around, he said college students no longer know how to dance.
He also said racial dynamics have much improved since the 1950s.
“Nothing today compares to the paucity of minority students on campus when I first arrived,” he said. “Change is among us, it’s really a part of who we are, and the best part is yet to come.”
The Duke Ellington Fellowship program earned Ruff the Connecticut Governor’s Art Award in 2000.
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=dc89c7d8da) | 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=dc89c7d8da&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz pioneer receives lifetime achievement award
http://www.jazzpromoservices.com/
http://yaledailynews.com/blog/2015/12/07/jazz-pioneer-receives-lifetime-achievement-award/
** Jazz pioneer receives lifetime achievement award
————————————————————
MAYA CHANDRA (http://yaledailynews.com/blog/author/mayachandra/) DEC 07, 2015
CONTRIBUTING REPORTER
Yale School of Music professor Willie Ruff ’53 YSM ’54 was presented with the C. Newton Schenck III Award for Lifetime Achievement award at the Arts Council of Greater New Haven Friday.
Arts Council Executive Director Cindy Clair said Ruff’s national prominence as a jazz figure, his lengthy teaching career and his work with the Duke Ellington Fellowship program — an initiative that brings world-renowned jazz musicians to Yale and New Haven Public Schools -— made him an excellent candidate for the award at the Arts Council’s annual Art Awards Luncheon this past weekend.
Ruff, who played the French horn and double bass alongside pianist Dwight Mitchell for more than 50 years, accompanied Duke Ellington, Miles Davis and Dizzy Gillespie and other world-famous jazz musicians throughout his roughly 60-year career. But despite rubbing shoulders with the biggest names in jazz and being a leader in the genre, Ruff, who joined the Yale faculty in 1971, remains down-to-earth and high spirited.
“[Teaching], well that’s what I do for fun anyways,” Ruff said with a laugh in an interview with the News. “I don’t know what I’ll do when I grow up.”
Ruff’s music career began in Alabama, where he was raised studying the drums under the guidance of an older boy in his neighborhood. When Ruff’s mentor was drafted for World War II, Ruff was left with the boy’s drum set and a thirst to join the war effort. Ruff lied about his age to enlist in the armed forces, eventually becoming a sergeant at the Lockbourne Air Force Base, which is famous for housing the famed African-American military pilots known as the Tuskegee Airmen.
Ruff hoped to play drums for the military band. But being young and inexperienced, he was passed over for the position.
“I got fired,” Ruff said. “I found out that I could stay in the band if I learned to play an instrument nobody else wanted to play, which was the French horn. So I did.”
Ruff said he chose to come to Yale after the war because he heard that his idol, acclaimed jazz musician Charlie Parker, once mentioned in passing that he would have liked to attend Yale. Ruff said his matriculation at Yale, an honor he shared with a fellow lieutenant from his air base, was a victory for African-Americans.
“We elevated the population of our race by 20 percent,” he said. “If you do the math, you will know how many of us were around [before].”
Ruff’s career took off shortly after. He said he and Mitchell were awarded the opportunity to play with many of the greatest jazz musicians of the day because he and Mitchell were the cheapest act to hire.
Ruff travelled with the Yale Russian Chorus to the Soviet Union in 1959, the height of the Cold War, and learned Mandarin in the 1980s so he could give talks during his jazz tour in China. Ruff has also influenced musicians in the Elm City. Jonny Allen YSM ’14 said he played for Ruff once before, and a compliment Ruff gave him has stayed with him until today. Ruff said his “crowning good fortune” was the establishment of the Duke Ellington Fellowship in 1972. Ruff convinced then-University President Kingman Brewster, to honor the contributions of 40 African-American musicians in a ceremony. Jazz artists Duke Ellington, Dizzy Gillespie, Marian Anderson and many others came to Yale from across the country for this ceremony. The program, now in its 43rd year, continues to bring successful jazz artists to Yale and New Haven public schools.
Though Yale does not have a performance degree in jazz, Deputy Dean of the School of Music Melvin Chen said his faculty consider jazz a very important part of classical music and music in general.
“There is no doubt that it is the indigenous American music … It is important that [students] get an education on jazz and its importance in American music,” Chen said.
Ruff said much has changed since he was a student at Yale. Though jazz is still around, he said college students no longer know how to dance.
He also said racial dynamics have much improved since the 1950s.
“Nothing today compares to the paucity of minority students on campus when I first arrived,” he said. “Change is among us, it’s really a part of who we are, and the best part is yet to come.”
The Duke Ellington Fellowship program earned Ruff the Connecticut Governor’s Art Award in 2000.
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=dc89c7d8da) | 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=dc89c7d8da&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
Jazz pioneer receives lifetime achievement award
http://www.jazzpromoservices.com/
http://yaledailynews.com/blog/2015/12/07/jazz-pioneer-receives-lifetime-achievement-award/
** Jazz pioneer receives lifetime achievement award
————————————————————
MAYA CHANDRA (http://yaledailynews.com/blog/author/mayachandra/) DEC 07, 2015
CONTRIBUTING REPORTER
Yale School of Music professor Willie Ruff ’53 YSM ’54 was presented with the C. Newton Schenck III Award for Lifetime Achievement award at the Arts Council of Greater New Haven Friday.
Arts Council Executive Director Cindy Clair said Ruff’s national prominence as a jazz figure, his lengthy teaching career and his work with the Duke Ellington Fellowship program — an initiative that brings world-renowned jazz musicians to Yale and New Haven Public Schools -— made him an excellent candidate for the award at the Arts Council’s annual Art Awards Luncheon this past weekend.
Ruff, who played the French horn and double bass alongside pianist Dwight Mitchell for more than 50 years, accompanied Duke Ellington, Miles Davis and Dizzy Gillespie and other world-famous jazz musicians throughout his roughly 60-year career. But despite rubbing shoulders with the biggest names in jazz and being a leader in the genre, Ruff, who joined the Yale faculty in 1971, remains down-to-earth and high spirited.
“[Teaching], well that’s what I do for fun anyways,” Ruff said with a laugh in an interview with the News. “I don’t know what I’ll do when I grow up.”
Ruff’s music career began in Alabama, where he was raised studying the drums under the guidance of an older boy in his neighborhood. When Ruff’s mentor was drafted for World War II, Ruff was left with the boy’s drum set and a thirst to join the war effort. Ruff lied about his age to enlist in the armed forces, eventually becoming a sergeant at the Lockbourne Air Force Base, which is famous for housing the famed African-American military pilots known as the Tuskegee Airmen.
Ruff hoped to play drums for the military band. But being young and inexperienced, he was passed over for the position.
“I got fired,” Ruff said. “I found out that I could stay in the band if I learned to play an instrument nobody else wanted to play, which was the French horn. So I did.”
Ruff said he chose to come to Yale after the war because he heard that his idol, acclaimed jazz musician Charlie Parker, once mentioned in passing that he would have liked to attend Yale. Ruff said his matriculation at Yale, an honor he shared with a fellow lieutenant from his air base, was a victory for African-Americans.
“We elevated the population of our race by 20 percent,” he said. “If you do the math, you will know how many of us were around [before].”
Ruff’s career took off shortly after. He said he and Mitchell were awarded the opportunity to play with many of the greatest jazz musicians of the day because he and Mitchell were the cheapest act to hire.
Ruff travelled with the Yale Russian Chorus to the Soviet Union in 1959, the height of the Cold War, and learned Mandarin in the 1980s so he could give talks during his jazz tour in China. Ruff has also influenced musicians in the Elm City. Jonny Allen YSM ’14 said he played for Ruff once before, and a compliment Ruff gave him has stayed with him until today. Ruff said his “crowning good fortune” was the establishment of the Duke Ellington Fellowship in 1972. Ruff convinced then-University President Kingman Brewster, to honor the contributions of 40 African-American musicians in a ceremony. Jazz artists Duke Ellington, Dizzy Gillespie, Marian Anderson and many others came to Yale from across the country for this ceremony. The program, now in its 43rd year, continues to bring successful jazz artists to Yale and New Haven public schools.
Though Yale does not have a performance degree in jazz, Deputy Dean of the School of Music Melvin Chen said his faculty consider jazz a very important part of classical music and music in general.
“There is no doubt that it is the indigenous American music … It is important that [students] get an education on jazz and its importance in American music,” Chen said.
Ruff said much has changed since he was a student at Yale. Though jazz is still around, he said college students no longer know how to dance.
He also said racial dynamics have much improved since the 1950s.
“Nothing today compares to the paucity of minority students on campus when I first arrived,” he said. “Change is among us, it’s really a part of who we are, and the best part is yet to come.”
The Duke Ellington Fellowship program earned Ruff the Connecticut Governor’s Art Award in 2000.
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=dc89c7d8da) | 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=dc89c7d8da&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
Jazz pioneer receives lifetime achievement award
http://www.jazzpromoservices.com/
http://yaledailynews.com/blog/2015/12/07/jazz-pioneer-receives-lifetime-achievement-award/
** Jazz pioneer receives lifetime achievement award
————————————————————
MAYA CHANDRA (http://yaledailynews.com/blog/author/mayachandra/) DEC 07, 2015
CONTRIBUTING REPORTER
Yale School of Music professor Willie Ruff ’53 YSM ’54 was presented with the C. Newton Schenck III Award for Lifetime Achievement award at the Arts Council of Greater New Haven Friday.
Arts Council Executive Director Cindy Clair said Ruff’s national prominence as a jazz figure, his lengthy teaching career and his work with the Duke Ellington Fellowship program — an initiative that brings world-renowned jazz musicians to Yale and New Haven Public Schools -— made him an excellent candidate for the award at the Arts Council’s annual Art Awards Luncheon this past weekend.
Ruff, who played the French horn and double bass alongside pianist Dwight Mitchell for more than 50 years, accompanied Duke Ellington, Miles Davis and Dizzy Gillespie and other world-famous jazz musicians throughout his roughly 60-year career. But despite rubbing shoulders with the biggest names in jazz and being a leader in the genre, Ruff, who joined the Yale faculty in 1971, remains down-to-earth and high spirited.
“[Teaching], well that’s what I do for fun anyways,” Ruff said with a laugh in an interview with the News. “I don’t know what I’ll do when I grow up.”
Ruff’s music career began in Alabama, where he was raised studying the drums under the guidance of an older boy in his neighborhood. When Ruff’s mentor was drafted for World War II, Ruff was left with the boy’s drum set and a thirst to join the war effort. Ruff lied about his age to enlist in the armed forces, eventually becoming a sergeant at the Lockbourne Air Force Base, which is famous for housing the famed African-American military pilots known as the Tuskegee Airmen.
Ruff hoped to play drums for the military band. But being young and inexperienced, he was passed over for the position.
“I got fired,” Ruff said. “I found out that I could stay in the band if I learned to play an instrument nobody else wanted to play, which was the French horn. So I did.”
Ruff said he chose to come to Yale after the war because he heard that his idol, acclaimed jazz musician Charlie Parker, once mentioned in passing that he would have liked to attend Yale. Ruff said his matriculation at Yale, an honor he shared with a fellow lieutenant from his air base, was a victory for African-Americans.
“We elevated the population of our race by 20 percent,” he said. “If you do the math, you will know how many of us were around [before].”
Ruff’s career took off shortly after. He said he and Mitchell were awarded the opportunity to play with many of the greatest jazz musicians of the day because he and Mitchell were the cheapest act to hire.
Ruff travelled with the Yale Russian Chorus to the Soviet Union in 1959, the height of the Cold War, and learned Mandarin in the 1980s so he could give talks during his jazz tour in China. Ruff has also influenced musicians in the Elm City. Jonny Allen YSM ’14 said he played for Ruff once before, and a compliment Ruff gave him has stayed with him until today. Ruff said his “crowning good fortune” was the establishment of the Duke Ellington Fellowship in 1972. Ruff convinced then-University President Kingman Brewster, to honor the contributions of 40 African-American musicians in a ceremony. Jazz artists Duke Ellington, Dizzy Gillespie, Marian Anderson and many others came to Yale from across the country for this ceremony. The program, now in its 43rd year, continues to bring successful jazz artists to Yale and New Haven public schools.
Though Yale does not have a performance degree in jazz, Deputy Dean of the School of Music Melvin Chen said his faculty consider jazz a very important part of classical music and music in general.
“There is no doubt that it is the indigenous American music … It is important that [students] get an education on jazz and its importance in American music,” Chen said.
Ruff said much has changed since he was a student at Yale. Though jazz is still around, he said college students no longer know how to dance.
He also said racial dynamics have much improved since the 1950s.
“Nothing today compares to the paucity of minority students on campus when I first arrived,” he said. “Change is among us, it’s really a part of who we are, and the best part is yet to come.”
The Duke Ellington Fellowship program earned Ruff the Connecticut Governor’s Art Award in 2000.
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=dc89c7d8da) | 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=dc89c7d8da&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
58th Annual GRAMMY Awards Nominees Jazz
http://www.jazzpromoservices.com/
**
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31. BEST IMPROVISED JAZZ SOLO
** Giant Steps
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Joey Alexander, soloist
Track from: My Favorite Things
Label: Motema Music
** Cherokee
————————————————————
Christian McBride, soloist
Track from: Live At The Village Vanguard (Christian McBride Trio)
Label: Mack Avenue Records
** Arbiters Of Evolution
————————————————————
Donny McCaslin, soloist
Track from: The Thompson Fields (Maria Schneider Orchestra)
Label: ArtistShare
** Friend Or Foe
————————————————————
Joshua Redman, soloist
Track from: The Bad Plus Joshua Redman (The Bad Plus Joshua Redman)
Label: Nonesuch
** Past Present
————————————————————
John Scofield, soloist
Track from: Past Present
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
32. BEST JAZZ VOCAL ALBUM
** Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein
————————————————————
Karrin Allyson
Label: Motema Music
** Find A Heart
————————————————————
Denise Donatelli
Label: Savant Records
** Flirting With Disaster
————————————————————
Lorraine Feather
Label: Jazzed Media
** Jamison
————————————————————
Jamison Ross
Label: Concord Jazz
** For One To Love
————————————————————
Cécile McLorin Salvant
Label: Mack Avenue Records
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
33. BEST JAZZ INSTRUMENTAL ALBUM
** My Favorite Things
————————————————————
Joey Alexander
Label: Motema Music
** Breathless
————————————————————
Terence Blanchard Featuring The E-Collective
Label: Blue Note Records
** Covered: Recorded Live At Capitol Studios
————————————————————
Robert Glasper & The Robert Glasper Trio
Label: Blue Note Records
** Beautiful Life
————————————————————
Jimmy Greene
Label: Mack Avenue Records
** Past Present
————————————————————
John Scofield
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
34. BEST LARGE JAZZ ENSEMBLE ALBUM
** Lines Of Color
————————————————————
Gil Evans Project
Label: Blue Note/ArtistShare
** Köln
————————————————————
Marshall Gilkes & WDR Big Band
Label: Alternate Side Records
** Cuba: The Conversation Continues
————————————————————
Arturo O’Farrill & The Afro Latin Jazz Orchestra
Label: Motema Music
** The Thompson Fields
————————————————————
Maria Schneider Orchestra
Label: ArtistShare
** Home Suite Home
————————————————————
Patrick Williams
Label: BFM Jazz
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
35. BEST LATIN JAZZ ALBUM
** Made In Brazil
————————————————————
Eliane Elias
Label: Concord Jazz
** Impromptu
————————————————————
The Rodriguez Brothers
Label: Criss Cross Jazz
** Suite Caminos
————————————————————
Gonzalo Rubalcaba
Label: 5Passion
** Intercambio
————————————————————
Wayne Wallace Latin Jazz Quintet
Label: Patois Records
** Identities Are Changeable
————————————————————
Miguel Zenón
Label: Miel Music
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=c52a3a225e) | 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=c52a3a225e&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
58th Annual GRAMMY Awards Nominees Jazz
http://www.jazzpromoservices.com/
**
————————————————————
31. BEST IMPROVISED JAZZ SOLO
** Giant Steps
————————————————————
Joey Alexander, soloist
Track from: My Favorite Things
Label: Motema Music
** Cherokee
————————————————————
Christian McBride, soloist
Track from: Live At The Village Vanguard (Christian McBride Trio)
Label: Mack Avenue Records
** Arbiters Of Evolution
————————————————————
Donny McCaslin, soloist
Track from: The Thompson Fields (Maria Schneider Orchestra)
Label: ArtistShare
** Friend Or Foe
————————————————————
Joshua Redman, soloist
Track from: The Bad Plus Joshua Redman (The Bad Plus Joshua Redman)
Label: Nonesuch
** Past Present
————————————————————
John Scofield, soloist
Track from: Past Present
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
32. BEST JAZZ VOCAL ALBUM
** Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein
————————————————————
Karrin Allyson
Label: Motema Music
** Find A Heart
————————————————————
Denise Donatelli
Label: Savant Records
** Flirting With Disaster
————————————————————
Lorraine Feather
Label: Jazzed Media
** Jamison
————————————————————
Jamison Ross
Label: Concord Jazz
** For One To Love
————————————————————
Cécile McLorin Salvant
Label: Mack Avenue Records
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
33. BEST JAZZ INSTRUMENTAL ALBUM
** My Favorite Things
————————————————————
Joey Alexander
Label: Motema Music
** Breathless
————————————————————
Terence Blanchard Featuring The E-Collective
Label: Blue Note Records
** Covered: Recorded Live At Capitol Studios
————————————————————
Robert Glasper & The Robert Glasper Trio
Label: Blue Note Records
** Beautiful Life
————————————————————
Jimmy Greene
Label: Mack Avenue Records
** Past Present
————————————————————
John Scofield
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
34. BEST LARGE JAZZ ENSEMBLE ALBUM
** Lines Of Color
————————————————————
Gil Evans Project
Label: Blue Note/ArtistShare
** Köln
————————————————————
Marshall Gilkes & WDR Big Band
Label: Alternate Side Records
** Cuba: The Conversation Continues
————————————————————
Arturo O’Farrill & The Afro Latin Jazz Orchestra
Label: Motema Music
** The Thompson Fields
————————————————————
Maria Schneider Orchestra
Label: ArtistShare
** Home Suite Home
————————————————————
Patrick Williams
Label: BFM Jazz
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
35. BEST LATIN JAZZ ALBUM
** Made In Brazil
————————————————————
Eliane Elias
Label: Concord Jazz
** Impromptu
————————————————————
The Rodriguez Brothers
Label: Criss Cross Jazz
** Suite Caminos
————————————————————
Gonzalo Rubalcaba
Label: 5Passion
** Intercambio
————————————————————
Wayne Wallace Latin Jazz Quintet
Label: Patois Records
** Identities Are Changeable
————————————————————
Miguel Zenón
Label: Miel Music
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=c52a3a225e) | 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=c52a3a225e&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
58th Annual GRAMMY Awards Nominees Jazz
http://www.jazzpromoservices.com/
**
————————————————————
31. BEST IMPROVISED JAZZ SOLO
** Giant Steps
————————————————————
Joey Alexander, soloist
Track from: My Favorite Things
Label: Motema Music
** Cherokee
————————————————————
Christian McBride, soloist
Track from: Live At The Village Vanguard (Christian McBride Trio)
Label: Mack Avenue Records
** Arbiters Of Evolution
————————————————————
Donny McCaslin, soloist
Track from: The Thompson Fields (Maria Schneider Orchestra)
Label: ArtistShare
** Friend Or Foe
————————————————————
Joshua Redman, soloist
Track from: The Bad Plus Joshua Redman (The Bad Plus Joshua Redman)
Label: Nonesuch
** Past Present
————————————————————
John Scofield, soloist
Track from: Past Present
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
32. BEST JAZZ VOCAL ALBUM
** Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein
————————————————————
Karrin Allyson
Label: Motema Music
** Find A Heart
————————————————————
Denise Donatelli
Label: Savant Records
** Flirting With Disaster
————————————————————
Lorraine Feather
Label: Jazzed Media
** Jamison
————————————————————
Jamison Ross
Label: Concord Jazz
** For One To Love
————————————————————
Cécile McLorin Salvant
Label: Mack Avenue Records
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
33. BEST JAZZ INSTRUMENTAL ALBUM
** My Favorite Things
————————————————————
Joey Alexander
Label: Motema Music
** Breathless
————————————————————
Terence Blanchard Featuring The E-Collective
Label: Blue Note Records
** Covered: Recorded Live At Capitol Studios
————————————————————
Robert Glasper & The Robert Glasper Trio
Label: Blue Note Records
** Beautiful Life
————————————————————
Jimmy Greene
Label: Mack Avenue Records
** Past Present
————————————————————
John Scofield
Label: Impulse!
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
34. BEST LARGE JAZZ ENSEMBLE ALBUM
** Lines Of Color
————————————————————
Gil Evans Project
Label: Blue Note/ArtistShare
** Köln
————————————————————
Marshall Gilkes & WDR Big Band
Label: Alternate Side Records
** Cuba: The Conversation Continues
————————————————————
Arturo O’Farrill & The Afro Latin Jazz Orchestra
Label: Motema Music
** The Thompson Fields
————————————————————
Maria Schneider Orchestra
Label: ArtistShare
** Home Suite Home
————————————————————
Patrick Williams
Label: BFM Jazz
BACK TO TOP (http://www.grammy.com/nominees?genre=16#main)
**
————————————————————
35. BEST LATIN JAZZ ALBUM
** Made In Brazil
————————————————————
Eliane Elias
Label: Concord Jazz
** Impromptu
————————————————————
The Rodriguez Brothers
Label: Criss Cross Jazz
** Suite Caminos
————————————————————
Gonzalo Rubalcaba
Label: 5Passion
** Intercambio
————————————————————
Wayne Wallace Latin Jazz Quintet
Label: Patois Records
** Identities Are Changeable
————————————————————
Miguel Zenón
Label: Miel Music
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=c52a3a225e) | 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=c52a3a225e&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 Photojournalist’s Most Prolific Period, Set to Jazz
http://www.jazzpromoservices.com/
http://www.newsweek.com/new-documentary-explores-w-eugene-smiths-photographs-legendary-jazz-loft-399000
BY JARED T. MILLER (http://www.newsweek.com/authors/jared-miller) 12/5/15 AT 2:37 PM
** A Photojournalist’s Most Prolific Period, Set to Jazz
————————————————————
11_27_JazzLoft_01
For some of America’s most preeminent jazz musicians, the loft building at 821 Sixth Ave. was a destination worth climbing fire escapes and crossing rooftops to reach. Thelonius Monk dropped in to play piano alongside his band. Zoot Sims was there, blowing life into his saxophone as listeners swooned nearby. Salvador Dalí showed up to share drinks with socialites and streetwise musicians alike. The loft was a hub of musical activity, a haven for artists and a waystation for touring musicians on their way through New York. Some stayed weeks at the loft as a way to reinvent their careers; others stopped by for a loose, late-night practice session where they could stretch out in ways they never could onstage. It was the scene for much of the innovation that would typify American jazz’s last golden age—the music created there was the product of free-wheeling performances without the pressures of an audience.
Now we know, however, that there was an audience the whole time, its sole member being photojournalist W. Eugene Smith. The storied LIFE photographer’s work from within the Sixth Avenue loft surfaced in the late 1990s, discovered in a sealed box in an archive in Arizona. The trove was massive: tens of thousands of photographic negatives and over a thousand reels of tape that contained about 4,000 hours of recordings—from jam sessions to radio broadcasts to the urban hum of Manhattan’s Flower district, where the loft was located. Smith, who died in 1978, never published any of the work during his lifetime, and it remained unseen for decades after his death.
11_27_JazzLoft_03 From left, Thelonious Monk and Hall Overton discuss an arrangement of Monk’s music at the “Jazz Loft” in 1959. W. Eugene Smith
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
A new documentary, The Jazz Loft According to W. Eugene Smith, reveals just what the world had been missing all that time. Smith, considered the “father of the photo essay” after publishing stories like “Country Doctor (http://time.com/3456085/w-eugene-smiths-landmark-photo-essay-country-doctor/) ” and “Spanish Village (http://time.com/3876243/life-behind-the-picture-w-eugene-smiths-guardia-civil-1950/) ” in LIFE, moved to the loft in 1957 and lived there until 1971. Enthralled by the place as soon as he arrived, he made documenting its inhabitants and the music they made his next project, his dedication to it mirroring the same sort of relentless dedication he gave to the subjects of his photo essays.
To record the 1,740 reels of tape that bore witness to life in the building, he rigged the place with microphones—at one time he had an elaborate switching system to capture music on each floor, extending outside the boundaries of his own apartment. Residents interviewed in the documentary remember seeing the occasional drill bit emerge through a floorboard—it was Smith, pushing a microphone from the room below.
The documentary is radio station WNYC’s first film effort. It had its premiere on October 18 in New Orleans and screened at the NYC DOC festival in November. Sarah Fishko, a culture reporter for the radio station and the film’s director, previously produced a 10-part radio series on the Jazz Loft for WNYC (http://www.wnyc.org/shows/jazz-loft/) in conjunction with Smith archivist Sam Stephenson, who published a book on Smith’s time at the loft in 2008. The film uses Smith’s expansive coverage of the building as a guide, focusing in on the moments where he kept the recorders rolling and his camera at the ready. The resulting vignettes are as rich and intimate as any of Smith’s photo essays.
By the time Smith arrived at the loft at 821 Sixth Ave., it was already a bustling artistic community—one of several such buildings in the area, though as it turned out, the one that attracted the most star power given its well-credentialed renters. Among them were Juilliard professor and jazz arranger Hall Overton, who brought two pianos with him and moonlighted by teaching music lessons. It was because of Overton, and a few other well-connected members of New York’s jazz and art scenes, that luminaries began to visit the building. A visit by Charlie Parker was infrequent but cherished; Charles Mingus stopped by from time to time; residents recall Zoot Sims once challenging a few fellow saxophonists to an all-night jam session, the sunrise revealing several collapsed instrumentalists at Sims’s feet as he continued to solo. Smith became “so much a part of the scene” that his presence went unnoticed, remembers bassist Steve Swallow, and the photographer’s unobtrusive
persistence lent immediacy and raw emotion to the images he produced.
11_27_JazzLoft_02 Zoot Sims plays a solo at the “Jazz Loft.” W. Eugene Smith
It’s a rawness that was familiar to Smith. After quitting his coveted staff position as a LIFE magazine photographer, and overshooting a subsequent assignment from the Magnum photo agency (it sent him to Pittsburgh for three weeks to shoot 100 images for the city’s bicentennial in 1955; he shot 17,000 over the course of a year), he returned to his family and home in Croton-on-Hudson, New York. As he began editing and printing the work from Pittsburgh, his personal life began to unravel. His work schedule, full of travel and late hours—Fishko, in her radio narration, says he was “always on deadline, or just recovering from one”—was at odds with taking care of his family, both logistically and financially.
His obsession forced Smith’s wife Carmen to take on most of the parenting responsibilities, and eventually the photographer fled the family altogether in order to move to New York City—leaving Carmen and the children with a house they would later have to sell to pay the tax debts it had incurred over the years. The cost of pursuing his idea of photographic genius was the rupture of his family and the collapse of his personal life. Ironically, though, it was a set of circumstances the night owls he shared the Jazz Loft with could understand perfectly.
“They embraced him because they saw in him this obsessed person who worked all night, and he felt the same way about them,” Fishko says. “The other interesting thing about that is that both photography and jazz are arts that seem to happen almost magically in the spur of the moment. And these tapes and photographs show that both Gene and these people were working all night, proving once again that it’s all very well to do something in the spur of the moment, but you have to be ready. You have to be practiced to do it.”
11_27_JazzLoft_04 The Thelonious Monk Orchestra at Town Hall, released in 1959, captured the energy of the rehearsals at the “Jazz Loft,” and featured Overton’s arrangements. Riverside Records
There is a sense of urgency to Smith’s work from the Jazz Loft. The era he covered was musically crucial—the late 1950s produced many of the genre’s greatest recordings—and his residency at the loft yielded the same empathetic, affecting images that populate his groundbreaking photo essays. The materials that appear in The Jazz Loft According to W. Eugene Smith represent a multimedia, genre-defying body of work—the largest such example of his career, though the only major one left unpublished. But the pictures and sounds, now fused as moving images, display rare moments from the lives of the musicians he captured, suspended eternally in the amber of Smith’s dramatic lighting and painterly compositions.
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=6c7942e740) | 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=6c7942e740&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 Photojournalist’s Most Prolific Period, Set to Jazz
http://www.jazzpromoservices.com/
http://www.newsweek.com/new-documentary-explores-w-eugene-smiths-photographs-legendary-jazz-loft-399000
BY JARED T. MILLER (http://www.newsweek.com/authors/jared-miller) 12/5/15 AT 2:37 PM
** A Photojournalist’s Most Prolific Period, Set to Jazz
————————————————————
11_27_JazzLoft_01
For some of America’s most preeminent jazz musicians, the loft building at 821 Sixth Ave. was a destination worth climbing fire escapes and crossing rooftops to reach. Thelonius Monk dropped in to play piano alongside his band. Zoot Sims was there, blowing life into his saxophone as listeners swooned nearby. Salvador Dalí showed up to share drinks with socialites and streetwise musicians alike. The loft was a hub of musical activity, a haven for artists and a waystation for touring musicians on their way through New York. Some stayed weeks at the loft as a way to reinvent their careers; others stopped by for a loose, late-night practice session where they could stretch out in ways they never could onstage. It was the scene for much of the innovation that would typify American jazz’s last golden age—the music created there was the product of free-wheeling performances without the pressures of an audience.
Now we know, however, that there was an audience the whole time, its sole member being photojournalist W. Eugene Smith. The storied LIFE photographer’s work from within the Sixth Avenue loft surfaced in the late 1990s, discovered in a sealed box in an archive in Arizona. The trove was massive: tens of thousands of photographic negatives and over a thousand reels of tape that contained about 4,000 hours of recordings—from jam sessions to radio broadcasts to the urban hum of Manhattan’s Flower district, where the loft was located. Smith, who died in 1978, never published any of the work during his lifetime, and it remained unseen for decades after his death.
11_27_JazzLoft_03 From left, Thelonious Monk and Hall Overton discuss an arrangement of Monk’s music at the “Jazz Loft” in 1959. W. Eugene Smith
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
A new documentary, The Jazz Loft According to W. Eugene Smith, reveals just what the world had been missing all that time. Smith, considered the “father of the photo essay” after publishing stories like “Country Doctor (http://time.com/3456085/w-eugene-smiths-landmark-photo-essay-country-doctor/) ” and “Spanish Village (http://time.com/3876243/life-behind-the-picture-w-eugene-smiths-guardia-civil-1950/) ” in LIFE, moved to the loft in 1957 and lived there until 1971. Enthralled by the place as soon as he arrived, he made documenting its inhabitants and the music they made his next project, his dedication to it mirroring the same sort of relentless dedication he gave to the subjects of his photo essays.
To record the 1,740 reels of tape that bore witness to life in the building, he rigged the place with microphones—at one time he had an elaborate switching system to capture music on each floor, extending outside the boundaries of his own apartment. Residents interviewed in the documentary remember seeing the occasional drill bit emerge through a floorboard—it was Smith, pushing a microphone from the room below.
The documentary is radio station WNYC’s first film effort. It had its premiere on October 18 in New Orleans and screened at the NYC DOC festival in November. Sarah Fishko, a culture reporter for the radio station and the film’s director, previously produced a 10-part radio series on the Jazz Loft for WNYC (http://www.wnyc.org/shows/jazz-loft/) in conjunction with Smith archivist Sam Stephenson, who published a book on Smith’s time at the loft in 2008. The film uses Smith’s expansive coverage of the building as a guide, focusing in on the moments where he kept the recorders rolling and his camera at the ready. The resulting vignettes are as rich and intimate as any of Smith’s photo essays.
By the time Smith arrived at the loft at 821 Sixth Ave., it was already a bustling artistic community—one of several such buildings in the area, though as it turned out, the one that attracted the most star power given its well-credentialed renters. Among them were Juilliard professor and jazz arranger Hall Overton, who brought two pianos with him and moonlighted by teaching music lessons. It was because of Overton, and a few other well-connected members of New York’s jazz and art scenes, that luminaries began to visit the building. A visit by Charlie Parker was infrequent but cherished; Charles Mingus stopped by from time to time; residents recall Zoot Sims once challenging a few fellow saxophonists to an all-night jam session, the sunrise revealing several collapsed instrumentalists at Sims’s feet as he continued to solo. Smith became “so much a part of the scene” that his presence went unnoticed, remembers bassist Steve Swallow, and the photographer’s unobtrusive
persistence lent immediacy and raw emotion to the images he produced.
11_27_JazzLoft_02 Zoot Sims plays a solo at the “Jazz Loft.” W. Eugene Smith
It’s a rawness that was familiar to Smith. After quitting his coveted staff position as a LIFE magazine photographer, and overshooting a subsequent assignment from the Magnum photo agency (it sent him to Pittsburgh for three weeks to shoot 100 images for the city’s bicentennial in 1955; he shot 17,000 over the course of a year), he returned to his family and home in Croton-on-Hudson, New York. As he began editing and printing the work from Pittsburgh, his personal life began to unravel. His work schedule, full of travel and late hours—Fishko, in her radio narration, says he was “always on deadline, or just recovering from one”—was at odds with taking care of his family, both logistically and financially.
His obsession forced Smith’s wife Carmen to take on most of the parenting responsibilities, and eventually the photographer fled the family altogether in order to move to New York City—leaving Carmen and the children with a house they would later have to sell to pay the tax debts it had incurred over the years. The cost of pursuing his idea of photographic genius was the rupture of his family and the collapse of his personal life. Ironically, though, it was a set of circumstances the night owls he shared the Jazz Loft with could understand perfectly.
“They embraced him because they saw in him this obsessed person who worked all night, and he felt the same way about them,” Fishko says. “The other interesting thing about that is that both photography and jazz are arts that seem to happen almost magically in the spur of the moment. And these tapes and photographs show that both Gene and these people were working all night, proving once again that it’s all very well to do something in the spur of the moment, but you have to be ready. You have to be practiced to do it.”
11_27_JazzLoft_04 The Thelonious Monk Orchestra at Town Hall, released in 1959, captured the energy of the rehearsals at the “Jazz Loft,” and featured Overton’s arrangements. Riverside Records
There is a sense of urgency to Smith’s work from the Jazz Loft. The era he covered was musically crucial—the late 1950s produced many of the genre’s greatest recordings—and his residency at the loft yielded the same empathetic, affecting images that populate his groundbreaking photo essays. The materials that appear in The Jazz Loft According to W. Eugene Smith represent a multimedia, genre-defying body of work—the largest such example of his career, though the only major one left unpublished. But the pictures and sounds, now fused as moving images, display rare moments from the lives of the musicians he captured, suspended eternally in the amber of Smith’s dramatic lighting and painterly compositions.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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A Photojournalist’s Most Prolific Period, Set to Jazz
http://www.jazzpromoservices.com/
http://www.newsweek.com/new-documentary-explores-w-eugene-smiths-photographs-legendary-jazz-loft-399000
BY JARED T. MILLER (http://www.newsweek.com/authors/jared-miller) 12/5/15 AT 2:37 PM
** A Photojournalist’s Most Prolific Period, Set to Jazz
————————————————————
11_27_JazzLoft_01
For some of America’s most preeminent jazz musicians, the loft building at 821 Sixth Ave. was a destination worth climbing fire escapes and crossing rooftops to reach. Thelonius Monk dropped in to play piano alongside his band. Zoot Sims was there, blowing life into his saxophone as listeners swooned nearby. Salvador Dalí showed up to share drinks with socialites and streetwise musicians alike. The loft was a hub of musical activity, a haven for artists and a waystation for touring musicians on their way through New York. Some stayed weeks at the loft as a way to reinvent their careers; others stopped by for a loose, late-night practice session where they could stretch out in ways they never could onstage. It was the scene for much of the innovation that would typify American jazz’s last golden age—the music created there was the product of free-wheeling performances without the pressures of an audience.
Now we know, however, that there was an audience the whole time, its sole member being photojournalist W. Eugene Smith. The storied LIFE photographer’s work from within the Sixth Avenue loft surfaced in the late 1990s, discovered in a sealed box in an archive in Arizona. The trove was massive: tens of thousands of photographic negatives and over a thousand reels of tape that contained about 4,000 hours of recordings—from jam sessions to radio broadcasts to the urban hum of Manhattan’s Flower district, where the loft was located. Smith, who died in 1978, never published any of the work during his lifetime, and it remained unseen for decades after his death.
11_27_JazzLoft_03 From left, Thelonious Monk and Hall Overton discuss an arrangement of Monk’s music at the “Jazz Loft” in 1959. W. Eugene Smith
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
A new documentary, The Jazz Loft According to W. Eugene Smith, reveals just what the world had been missing all that time. Smith, considered the “father of the photo essay” after publishing stories like “Country Doctor (http://time.com/3456085/w-eugene-smiths-landmark-photo-essay-country-doctor/) ” and “Spanish Village (http://time.com/3876243/life-behind-the-picture-w-eugene-smiths-guardia-civil-1950/) ” in LIFE, moved to the loft in 1957 and lived there until 1971. Enthralled by the place as soon as he arrived, he made documenting its inhabitants and the music they made his next project, his dedication to it mirroring the same sort of relentless dedication he gave to the subjects of his photo essays.
To record the 1,740 reels of tape that bore witness to life in the building, he rigged the place with microphones—at one time he had an elaborate switching system to capture music on each floor, extending outside the boundaries of his own apartment. Residents interviewed in the documentary remember seeing the occasional drill bit emerge through a floorboard—it was Smith, pushing a microphone from the room below.
The documentary is radio station WNYC’s first film effort. It had its premiere on October 18 in New Orleans and screened at the NYC DOC festival in November. Sarah Fishko, a culture reporter for the radio station and the film’s director, previously produced a 10-part radio series on the Jazz Loft for WNYC (http://www.wnyc.org/shows/jazz-loft/) in conjunction with Smith archivist Sam Stephenson, who published a book on Smith’s time at the loft in 2008. The film uses Smith’s expansive coverage of the building as a guide, focusing in on the moments where he kept the recorders rolling and his camera at the ready. The resulting vignettes are as rich and intimate as any of Smith’s photo essays.
By the time Smith arrived at the loft at 821 Sixth Ave., it was already a bustling artistic community—one of several such buildings in the area, though as it turned out, the one that attracted the most star power given its well-credentialed renters. Among them were Juilliard professor and jazz arranger Hall Overton, who brought two pianos with him and moonlighted by teaching music lessons. It was because of Overton, and a few other well-connected members of New York’s jazz and art scenes, that luminaries began to visit the building. A visit by Charlie Parker was infrequent but cherished; Charles Mingus stopped by from time to time; residents recall Zoot Sims once challenging a few fellow saxophonists to an all-night jam session, the sunrise revealing several collapsed instrumentalists at Sims’s feet as he continued to solo. Smith became “so much a part of the scene” that his presence went unnoticed, remembers bassist Steve Swallow, and the photographer’s unobtrusive
persistence lent immediacy and raw emotion to the images he produced.
11_27_JazzLoft_02 Zoot Sims plays a solo at the “Jazz Loft.” W. Eugene Smith
It’s a rawness that was familiar to Smith. After quitting his coveted staff position as a LIFE magazine photographer, and overshooting a subsequent assignment from the Magnum photo agency (it sent him to Pittsburgh for three weeks to shoot 100 images for the city’s bicentennial in 1955; he shot 17,000 over the course of a year), he returned to his family and home in Croton-on-Hudson, New York. As he began editing and printing the work from Pittsburgh, his personal life began to unravel. His work schedule, full of travel and late hours—Fishko, in her radio narration, says he was “always on deadline, or just recovering from one”—was at odds with taking care of his family, both logistically and financially.
His obsession forced Smith’s wife Carmen to take on most of the parenting responsibilities, and eventually the photographer fled the family altogether in order to move to New York City—leaving Carmen and the children with a house they would later have to sell to pay the tax debts it had incurred over the years. The cost of pursuing his idea of photographic genius was the rupture of his family and the collapse of his personal life. Ironically, though, it was a set of circumstances the night owls he shared the Jazz Loft with could understand perfectly.
“They embraced him because they saw in him this obsessed person who worked all night, and he felt the same way about them,” Fishko says. “The other interesting thing about that is that both photography and jazz are arts that seem to happen almost magically in the spur of the moment. And these tapes and photographs show that both Gene and these people were working all night, proving once again that it’s all very well to do something in the spur of the moment, but you have to be ready. You have to be practiced to do it.”
11_27_JazzLoft_04 The Thelonious Monk Orchestra at Town Hall, released in 1959, captured the energy of the rehearsals at the “Jazz Loft,” and featured Overton’s arrangements. Riverside Records
There is a sense of urgency to Smith’s work from the Jazz Loft. The era he covered was musically crucial—the late 1950s produced many of the genre’s greatest recordings—and his residency at the loft yielded the same empathetic, affecting images that populate his groundbreaking photo essays. The materials that appear in The Jazz Loft According to W. Eugene Smith represent a multimedia, genre-defying body of work—the largest such example of his career, though the only major one left unpublished. But the pictures and sounds, now fused as moving images, display rare moments from the lives of the musicians he captured, suspended eternally in the amber of Smith’s dramatic lighting and painterly compositions.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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USA
Best jazz box sets, from Sinatra to Miles to Mehldau – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-best-jazz-box-sets-ae-1206-20151203-column.html
** Best jazz box sets, from Sinatra to Miles to Mehldau
————————————————————
Howard ReichContact Reporter
Best jazz box sets of 2015
We’re obviously deep into the digital age, but that hasn’t stopped labels from producing expansive and important jazz box sets. Among the best:
Frank Sinatra, “A Voice on Air (1935-1955)” (Columbia/Legacy Recordings; $69.98): This year’s Sinatra centennial has yielded several commemorations, and this four-CD set ranks among the best. Though so much of Sinatra’s enormous discography already has been released in uncounted packages, “A Voice on Air” traces the first two decades of the man’s career via lesser-known radio broadcasts. The treasures include songs Sinatra never documented in the recording studio, as well as duets with Nat King Cole, Peggy Lee, Doris Day and Johnny Mercer. Essential listening for Sinatra devotees.
“Miles Davis at Newport: 1955-1975, The Bootleg Series Vol. 4″(Columbia/Legacy Recordings; $49.98): This four-CD set opens with trumpeter Davis’ debut at the Newport Jazz Festival and traces the next two decades of his live performances there. That includes four hours of music that has not been released before and features Davis in the company of Thelonious Monk, Gerry Mulligan, John Coltrane, Bill Evans, Wayne Shorter, Herbie Hancock, Dave Liebman and more.
Brad Mehldau, “10 Years Solo Live” (Nonesuch Records; $33.98): Few contemporary jazz pianists command as devoted a following as Mehldau, whose incantatory solo performances vary freely among classical, jazz and pop influences. Four CDs of his solo sets have been gathered here, Mehldau reimagining everything from a Brahms Intermezzo to Thelonious Monk’s “Think of One” to Kurt Cobain’s “Smells Like Teen Spirit.”
“The Complete Bee Hive Sessions” (Mosaic Records; mosaicrecords.com; $169): Jazz lovers owe a huge debt to Chicagoans Jim and Susan Neumann, who in 1977 started Bee Hive Jazz Records and proceeded to capture the work of Nick Brignola, Pepper Adams, Curtis Fuller, Dizzy Reece, Clifford Jordan, Roland Hanna and, most famously, singer Johnny Hartman. Now that music has been collected in 12 CDs, filling holes in many collections.
“The Complete Dial Modern Jazz Sessions” (Mosaic Records; mosaicrecords.com; $149): The 1940s represented an explosive period in jazz, marking the rise of bebop and the emergence of a new generation of technically brilliant, artistically fearless stars. Dial Records preserved work of Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) , Miles Davis, Dizzy Gillespie, Dexter Gordon, Melba Liston, Erroll Garner and more, the music re-mastered here on nine CDs.
William Parker, “For Those Who Are, Still” (AUM Fidelity; $30): Two years ago, bassist-composer Parker earned wide critical acclaim for the eight-CD box set “Wood Flute Songs: Anthology/Live 2006-2012,” which illuminated free-ranging, abstract music created in the heat of the moment. “For Those Who Are, Still,” a three-CD set, takes a different tack, focusing on Parker’s long-form works, from a sweeping, symphonic opus to a vocal-instrument suite of songs.
Johnny Mathis, “The Singles” (Columbia/Legacy Recordings; $59.98): Having turned 80 this year, singer Mathis surely deserves this four-CD tribute, spanning 1956 to 1981. Of course, that includes such classics as “When Sunny Gets Blue,” “It’s Not For Me to Say,” “Chances Are,” “Wonderful! Wonderful!” and “The Twelfth of Never.” But the set reaches beyond the familiar, with singles such as “All the Sad Young Men,” “The Way You Look Tonight” and “Wild is the Wind.”
Weather Report, “The Legendary Live Tapes: 1978-1981” (Legacy Recordings; $59.98): For those who value jazz-rock fusion, this four-CD set will provide a taste of how Weather Report sounded in concert at a high point in its evolution. The group at the time featured Joe Zawinul, Wayne Shorter, Jaco Pastorius, Peter Erskine and Robert Thomas Jr.
Erroll Garner, “The Complete Concert by the Sea” (Legacy Recordings; $15.98): Pianist Garner achieved an unexpected hit with his “Concert by the Sea” LP, recorded live in 1955 and quickly selling nearly a quarter million copies. But that didn’t include everything Garner and his trio performed in concert in Carmel, Calif. The new set adds 11 tracks previously unavailable, a post-concert interview and the recording as originally released.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Best jazz box sets, from Sinatra to Miles to Mehldau – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-best-jazz-box-sets-ae-1206-20151203-column.html
** Best jazz box sets, from Sinatra to Miles to Mehldau
————————————————————
Howard ReichContact Reporter
Best jazz box sets of 2015
We’re obviously deep into the digital age, but that hasn’t stopped labels from producing expansive and important jazz box sets. Among the best:
Frank Sinatra, “A Voice on Air (1935-1955)” (Columbia/Legacy Recordings; $69.98): This year’s Sinatra centennial has yielded several commemorations, and this four-CD set ranks among the best. Though so much of Sinatra’s enormous discography already has been released in uncounted packages, “A Voice on Air” traces the first two decades of the man’s career via lesser-known radio broadcasts. The treasures include songs Sinatra never documented in the recording studio, as well as duets with Nat King Cole, Peggy Lee, Doris Day and Johnny Mercer. Essential listening for Sinatra devotees.
“Miles Davis at Newport: 1955-1975, The Bootleg Series Vol. 4″(Columbia/Legacy Recordings; $49.98): This four-CD set opens with trumpeter Davis’ debut at the Newport Jazz Festival and traces the next two decades of his live performances there. That includes four hours of music that has not been released before and features Davis in the company of Thelonious Monk, Gerry Mulligan, John Coltrane, Bill Evans, Wayne Shorter, Herbie Hancock, Dave Liebman and more.
Brad Mehldau, “10 Years Solo Live” (Nonesuch Records; $33.98): Few contemporary jazz pianists command as devoted a following as Mehldau, whose incantatory solo performances vary freely among classical, jazz and pop influences. Four CDs of his solo sets have been gathered here, Mehldau reimagining everything from a Brahms Intermezzo to Thelonious Monk’s “Think of One” to Kurt Cobain’s “Smells Like Teen Spirit.”
“The Complete Bee Hive Sessions” (Mosaic Records; mosaicrecords.com; $169): Jazz lovers owe a huge debt to Chicagoans Jim and Susan Neumann, who in 1977 started Bee Hive Jazz Records and proceeded to capture the work of Nick Brignola, Pepper Adams, Curtis Fuller, Dizzy Reece, Clifford Jordan, Roland Hanna and, most famously, singer Johnny Hartman. Now that music has been collected in 12 CDs, filling holes in many collections.
“The Complete Dial Modern Jazz Sessions” (Mosaic Records; mosaicrecords.com; $149): The 1940s represented an explosive period in jazz, marking the rise of bebop and the emergence of a new generation of technically brilliant, artistically fearless stars. Dial Records preserved work of Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) , Miles Davis, Dizzy Gillespie, Dexter Gordon, Melba Liston, Erroll Garner and more, the music re-mastered here on nine CDs.
William Parker, “For Those Who Are, Still” (AUM Fidelity; $30): Two years ago, bassist-composer Parker earned wide critical acclaim for the eight-CD box set “Wood Flute Songs: Anthology/Live 2006-2012,” which illuminated free-ranging, abstract music created in the heat of the moment. “For Those Who Are, Still,” a three-CD set, takes a different tack, focusing on Parker’s long-form works, from a sweeping, symphonic opus to a vocal-instrument suite of songs.
Johnny Mathis, “The Singles” (Columbia/Legacy Recordings; $59.98): Having turned 80 this year, singer Mathis surely deserves this four-CD tribute, spanning 1956 to 1981. Of course, that includes such classics as “When Sunny Gets Blue,” “It’s Not For Me to Say,” “Chances Are,” “Wonderful! Wonderful!” and “The Twelfth of Never.” But the set reaches beyond the familiar, with singles such as “All the Sad Young Men,” “The Way You Look Tonight” and “Wild is the Wind.”
Weather Report, “The Legendary Live Tapes: 1978-1981” (Legacy Recordings; $59.98): For those who value jazz-rock fusion, this four-CD set will provide a taste of how Weather Report sounded in concert at a high point in its evolution. The group at the time featured Joe Zawinul, Wayne Shorter, Jaco Pastorius, Peter Erskine and Robert Thomas Jr.
Erroll Garner, “The Complete Concert by the Sea” (Legacy Recordings; $15.98): Pianist Garner achieved an unexpected hit with his “Concert by the Sea” LP, recorded live in 1955 and quickly selling nearly a quarter million copies. But that didn’t include everything Garner and his trio performed in concert in Carmel, Calif. The new set adds 11 tracks previously unavailable, a post-concert interview and the recording as originally released.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
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=e97dd95381) | 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=e97dd95381&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
Best jazz box sets, from Sinatra to Miles to Mehldau – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-best-jazz-box-sets-ae-1206-20151203-column.html
** Best jazz box sets, from Sinatra to Miles to Mehldau
————————————————————
Howard ReichContact Reporter
Best jazz box sets of 2015
We’re obviously deep into the digital age, but that hasn’t stopped labels from producing expansive and important jazz box sets. Among the best:
Frank Sinatra, “A Voice on Air (1935-1955)” (Columbia/Legacy Recordings; $69.98): This year’s Sinatra centennial has yielded several commemorations, and this four-CD set ranks among the best. Though so much of Sinatra’s enormous discography already has been released in uncounted packages, “A Voice on Air” traces the first two decades of the man’s career via lesser-known radio broadcasts. The treasures include songs Sinatra never documented in the recording studio, as well as duets with Nat King Cole, Peggy Lee, Doris Day and Johnny Mercer. Essential listening for Sinatra devotees.
“Miles Davis at Newport: 1955-1975, The Bootleg Series Vol. 4″(Columbia/Legacy Recordings; $49.98): This four-CD set opens with trumpeter Davis’ debut at the Newport Jazz Festival and traces the next two decades of his live performances there. That includes four hours of music that has not been released before and features Davis in the company of Thelonious Monk, Gerry Mulligan, John Coltrane, Bill Evans, Wayne Shorter, Herbie Hancock, Dave Liebman and more.
Brad Mehldau, “10 Years Solo Live” (Nonesuch Records; $33.98): Few contemporary jazz pianists command as devoted a following as Mehldau, whose incantatory solo performances vary freely among classical, jazz and pop influences. Four CDs of his solo sets have been gathered here, Mehldau reimagining everything from a Brahms Intermezzo to Thelonious Monk’s “Think of One” to Kurt Cobain’s “Smells Like Teen Spirit.”
“The Complete Bee Hive Sessions” (Mosaic Records; mosaicrecords.com; $169): Jazz lovers owe a huge debt to Chicagoans Jim and Susan Neumann, who in 1977 started Bee Hive Jazz Records and proceeded to capture the work of Nick Brignola, Pepper Adams, Curtis Fuller, Dizzy Reece, Clifford Jordan, Roland Hanna and, most famously, singer Johnny Hartman. Now that music has been collected in 12 CDs, filling holes in many collections.
“The Complete Dial Modern Jazz Sessions” (Mosaic Records; mosaicrecords.com; $149): The 1940s represented an explosive period in jazz, marking the rise of bebop and the emergence of a new generation of technically brilliant, artistically fearless stars. Dial Records preserved work of Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) , Miles Davis, Dizzy Gillespie, Dexter Gordon, Melba Liston, Erroll Garner and more, the music re-mastered here on nine CDs.
William Parker, “For Those Who Are, Still” (AUM Fidelity; $30): Two years ago, bassist-composer Parker earned wide critical acclaim for the eight-CD box set “Wood Flute Songs: Anthology/Live 2006-2012,” which illuminated free-ranging, abstract music created in the heat of the moment. “For Those Who Are, Still,” a three-CD set, takes a different tack, focusing on Parker’s long-form works, from a sweeping, symphonic opus to a vocal-instrument suite of songs.
Johnny Mathis, “The Singles” (Columbia/Legacy Recordings; $59.98): Having turned 80 this year, singer Mathis surely deserves this four-CD tribute, spanning 1956 to 1981. Of course, that includes such classics as “When Sunny Gets Blue,” “It’s Not For Me to Say,” “Chances Are,” “Wonderful! Wonderful!” and “The Twelfth of Never.” But the set reaches beyond the familiar, with singles such as “All the Sad Young Men,” “The Way You Look Tonight” and “Wild is the Wind.”
Weather Report, “The Legendary Live Tapes: 1978-1981” (Legacy Recordings; $59.98): For those who value jazz-rock fusion, this four-CD set will provide a taste of how Weather Report sounded in concert at a high point in its evolution. The group at the time featured Joe Zawinul, Wayne Shorter, Jaco Pastorius, Peter Erskine and Robert Thomas Jr.
Erroll Garner, “The Complete Concert by the Sea” (Legacy Recordings; $15.98): Pianist Garner achieved an unexpected hit with his “Concert by the Sea” LP, recorded live in 1955 and quickly selling nearly a quarter million copies. But that didn’t include everything Garner and his trio performed in concert in Carmel, Calif. The new set adds 11 tracks previously unavailable, a post-concert interview and the recording as originally released.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
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Jazz Promo Services
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The Arduous (Fascinating) Task Of Packing Up The World’s Largest Orchestra Music Library: Cincinnati Enquirer
http://www.jazzpromoservices.com/
http://www.cincinnati.com/story/entertainment/arts/2015/12/03/packing-up-preserve-musical-treasure/75582052/
** Packing up to preserve a musical treasure
————————————————————
Janelle Gelfand (http://www.cincinnati.com/staff/9107/janelle-gelfand/) , jgelfand@enquirer.com
Stacks of orchestra music waiting to be cataloged. Boxes and rolls of blue tape. Leaky ceilings. A room of musical scores that looks like it’s been hit by a hurricane.
Since summer, three librarians at the Cincinnati Symphony Orchestra have been up against a daunting deadline. They are trying to put up to a million pieces of music into as much order as possible by Monday, when it all has to be moved out of Music Hall to prepare for the historic hall’s renovation in June.
“We have music in five annexes, all over the place. We have music squirreled everywhere, and pipes have broken on it more than once,” said Mary Judge, CSO’s principal librarian for the last 41 years. “It’s a treasure, and it’s our job to take care and protect it.”
It is the largest orchestra library in the world, and it is a treasure that has been hidden in plain sight. It tells stories of Cincinnati, of its musical organizations, its artists and its audience tastes. It is a history of us.
In a world that is increasingly digital, very little of this library is digital. It is old-world, and hands touch it daily. Over the past century, luminaries who have touched this music include Sergei Rachmaninoff, Leonard Bernstein, Aaron Copland, John Adams and John Philip Sousa.
Christina Eaton, associate librarian, left, and Mary Buy Photo
Christina Eaton, associate librarian, left, and Mary Judge, principal librarian, prepare sheet music for a rehearsal of the Cincinnati Symphony Orchestra. They are juggling their regular job while packing up and moving a million pieces of music from the library. (Photo: The Enquirer/Cara Owsley)
Said Judge: “We’re taking care of music that somebody bought years ago, put on their music stand and played. The decisions being made will affect somebody 40 or 50 years from now.”
This piece of Cincinnati history will have a temporary home at the Public Library of Cincinnati and Hamilton County, Downtown, during construction.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you.’ That’s the goal.”
Mary Judge, principal librarian, CSO
But first, Judge and her two colleagues – Christina Eaton, associate principal librarian and Matt Gray, assistant librarian – are looking at every single piece of music and instrumental or vocal part. All million pieces must be documented and sorted. Some of it – including choral music dating back to the first Cincinnati May Festival in 1873 – is being put into a digital database for the very first time.
Music librarians are accustomed to working behind the scenes. You might see them briefly, as they deliver a score to the conductor’s music stand onstage, and scurry off. They work with the conductor and concertmaster (first violinist) to pencil bowings, dynamic markings and cuts into all of the orchestra parts.
The librarians go on domestic and international tours with the orchestra. And they always stand in the wings with extra batons, should a too-enthusiastic conductor break one during a show. They time every piece as it is performed. That goes into the database, too.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you,’ ” Judge said. “That’s the goal. I float onstage and float off. If you haven’t seen me, I’m doing my job.”
Right now, they are working frantically to pack up and move during the busiest time of year. December has a classical concert, Holiday Pops, Cincinnati Ballet’s “The Nutcracker” (the CSO plays in the pit), Handel’s “Messiah” and a New Year’s Eve tribute to Frank Sinatra.
“We found three days, Dec. 7, 8 and 9, that would work,” Judge said. “One of us will be up here at Music Hall, one will be in the Public Library and one of us will be a runner. Because we have to make sure that this library goes down in order. That’s why it has to be cataloged.”
The entire library represents more than 140 years of music, 120 years for the symphony alone. The collection – music for the Cincinnati Symphony and Pops, May Festival Chorus, Cincinnati Opera, Cincinnati Ballet, Cincinnati Symphony Youth Orchestra, Vocal Arts Ensemble, Classical Roots Community Mass Choir and May Festival Youth Chorus – has been housed in 11 different locations in Music Hall.
And when music director Louis Langrée moved from Paris, they had to make room for his entire personal library of music, too.
Judge, 66, holds up a violin part with markings that go back to the 1800s. That’s the least of it. Other musical finds they have unearthed:
Librarians discovered this score to Easter Parade, Buy Photo
Librarians discovered this score to Easter Parade, the first Pops arrangement made for the orchestra. (Photo: The Enquirer/Janelle Gelfand)
• A handwritten score to Irving Berlin’s “Easter Parade,” the first pops arrangement commissioned for the orchestra by then-music director Thor Johnson. The cover page suggests that “the audience may join in singing at Letter D.”
• The original score to “Reel,” by American composer Henry Cowell, with his stamped envelope addressed to then-music director Eugene Goossens (misspelling his name).
• The Overture to “Sappho” by Carl Goldmark dated 1894, when the May Festival gave its United States premiere under May Festival founder Theodore Thomas.
• The vocal score to Richard Wagner’s opera “Lohengrin,” edited by Thomas, and printed by John Church & Co. of Cincinnati in 1873.
** Dead storage
————————————————————
Organized chaos: An annex up high in the North Wing Buy Photo
Organized chaos: An annex up high in the North Wing of Music Hall has held choral music and other music not used much anymore. (Photo: The Enquirer/Janelle Gelfand)
It’s a massive triage project. Music that is water damaged or crumbling from age will be tossed. Little used but historic scores may find a home at the Public Library or Cincinnati History Library and Archives.
“I’m feeling very pressured,” Judge said. “We’re not purging – some people in the organization are purging. We are pruning. That just feels better. But some of the music is so old, it’s not playable. If you turn it over, it cracks.”
She walked to an overflow room down the hall. Stacks of Cincinnati Pops music – responsible for some of the Pops’ 10 million albums sold – sat in an empty dressing room on roll-away carts. During the summer, they were moved out, so the room could be used by Cincinnati Opera cast members.
Memories bubbled up at the sight. It was Pops founder Erich Kunzel who demanded that the librarians number every measure of every piece for the nearly 100 Pops albums that he recorded. To this day, the practice continues for the fiercely expensive recording sessions, when they have to record a quick retake, say, at measure 217.
Music is stored in a dressing room at Music Hall before Buy Photo
Music is stored in a dressing room at Music Hall before it is moved to the Downtown Public Library while Music Hall is under construction Tuesday Nov. 10, 2015. (Photo: The Enquirer/Cara Owsley)
“Counting the measures, like for symphonies or ‘Appalachian Spring,’ that is my absolute least favorite job,” said Eaton, 36.
Across the building in the North Wing was more overflow. A secret, second-floor room, once used for wrestling, contained a trove of choral music – as well as what Judge called “dead storage” for music no longer needed. A dumbwaiter in the wall stood ready to ferry scores down to the first floor.
Gray, the 25-year-old assistant librarian, has worked there “24/7” to meticulously catalog the May Festival choral repertoire into a massive spreadsheet. He’s determined how many linear feet of space will be needed when it moves into the Public Library’s high density storage.
Assistant librarian Matt Gray has documented the music Buy Photo
Assistant librarian Matt Gray has documented the music by linear feet in preparation for the move. (Photo: The Enquirer/Janelle Gelfand)
“There’s a big push for getting the actual footage of all of this, because when you go to move a huge collection, little numbers can make a big difference,” he said.
Tossed among the piles were arrangements of “God Bless America,” “Be Prepared” – for a special Girl Scout concert – dance band music and Strauss waltzes.
Even dead storage can tell stories. Take the time Keith Lockhart, the Boston Pops conductor who got his start in Cincinnati, was looking for a piece by Copland. He knew that music director Goossens had commissioned Copland’s “Fanfare for the Common Man” for the Cincinnati Symphony. But he’d also heard there was another piece, “Jubilee Variations.” Several famous American composers were asked to write a variation on Goossen’s theme. Copland was one of them, and Lockhart wanted to perform it.
Music is stored in a small room at Music Hall where Buy Photo
Music is stored in a small room at Music Hall where a leak in the roof has caused some of the music to be damaged. (Photo: The Enquirer/Cara Owsley)
“I found it. Then Erich (Kunzel) decided to record it on the Pops’ Copland album. Ever since then, I’ve never dismissed dead storage,” Judge said.
The librarians’ most challenging project was Nathaniel Dett’s oratorio, “The Ordering of Moses,” which May Festival music director James Conlon resurrected for an historic performance and live broadcast in 2014 at Carnegie Hall. Conlon decided to re-edit and re-orchestrate the work. Which meant the librarians had to fix the parts.
“We worked ‘round the clock. It was a little unfinished, shall we say,” Judge recalled. “After every rehearsal, he found something he wanted to rewrite. That was probably the hardest thing I’ve ever done here.”
Conlon was still re-writing on the plane from Cincinnati to New York, and asked Judge to make more changes in the orchestra parts before they played Carnegie Hall.
“At that point, we had to use post-it notes,” she said.
Judge regularly works into the wee hours at Music Hall. As she walks through its halls, another memory surfaces.
Mary Judge, principal librarian, looks at old sheet Buy Photo
Mary Judge, principal librarian, looks at old sheet music Tuesday Nov. 10, 2015 at Music Hall. There are a million pieces of music and 120 years of history in the library at Music Hall. Librarians are moving it to the Downtown Public Library while Music Hall is under construction. Judge has worked at the library for 41 years. (Photo: The Enquirer/Cara Owsley)
“My very first ghost experience was with Erich Kunzel. It was 3 a.m., and we were working on fixing some pops arrangements,” she recalled. “It was the middle of July, and it was so hot. There was no air ventilation, it was awful.”
Her phone rang, and Kunzel asked her to come to his office.
“So, I move into the hallway, and all of a sudden, I am covered in my personal air conditioning. It was really nice. I take a step, I stop, and it stops. I’m going down the hall, in my personal air conditioner,” she said. “I go into Erich’s room, and cross the threshold, and it stops and stays in the hallway. I left his office, and I was surrounded again, until I stepped back into the library.”
She doesn’t know if Music Hall’s ghosts will follow them, or be there when they return.
“I have always felt that the spirits that roam here never threaten,” she said. “They just roam.”
** The music library’s temporary home
————————————————————
The Cincinnati Symphony Orchestra, and other tenants, will move out of Music Hall in June for an intensive construction period. Finding a place to put its rare collection of musical scores was a real challenge, said CSO president Trey Devey. He reached out to Kim Fender, the director of the Public Library of Cincinnati and Hamilton County, who immediately offered space.
“They’ve lifted a weight off our shoulders,” Devey said. “There couldn’t be a better and more protected place than our great library system.”
The collection, all million pieces, will be housed in a high density storage area in the Library’s basement. It will not be open to the public. But CSO librarians and staff will be able to work in that space until they move back into Music Hall, estimated to be fall of 2017.
When they move back to Music Hall, the new library will be in approximately the same place it is now, backstage. However, plans are being drawn to add a mezzanine level with high density storage, Devey said.
“Ultimately all of the collections, whether CSO, Pops, May Festival, Ballet or Opera, will all be maintained within that same footprint, all protected within the same systems. And that is not the case right now. Right now, our library is spread all throughout Music Hall,” he said.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c8eab17efa) | 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=c8eab17efa&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
The Arduous (Fascinating) Task Of Packing Up The World’s Largest Orchestra Music Library: Cincinnati Enquirer
http://www.jazzpromoservices.com/
http://www.cincinnati.com/story/entertainment/arts/2015/12/03/packing-up-preserve-musical-treasure/75582052/
** Packing up to preserve a musical treasure
————————————————————
Janelle Gelfand (http://www.cincinnati.com/staff/9107/janelle-gelfand/) , jgelfand@enquirer.com
Stacks of orchestra music waiting to be cataloged. Boxes and rolls of blue tape. Leaky ceilings. A room of musical scores that looks like it’s been hit by a hurricane.
Since summer, three librarians at the Cincinnati Symphony Orchestra have been up against a daunting deadline. They are trying to put up to a million pieces of music into as much order as possible by Monday, when it all has to be moved out of Music Hall to prepare for the historic hall’s renovation in June.
“We have music in five annexes, all over the place. We have music squirreled everywhere, and pipes have broken on it more than once,” said Mary Judge, CSO’s principal librarian for the last 41 years. “It’s a treasure, and it’s our job to take care and protect it.”
It is the largest orchestra library in the world, and it is a treasure that has been hidden in plain sight. It tells stories of Cincinnati, of its musical organizations, its artists and its audience tastes. It is a history of us.
In a world that is increasingly digital, very little of this library is digital. It is old-world, and hands touch it daily. Over the past century, luminaries who have touched this music include Sergei Rachmaninoff, Leonard Bernstein, Aaron Copland, John Adams and John Philip Sousa.
Christina Eaton, associate librarian, left, and Mary Buy Photo
Christina Eaton, associate librarian, left, and Mary Judge, principal librarian, prepare sheet music for a rehearsal of the Cincinnati Symphony Orchestra. They are juggling their regular job while packing up and moving a million pieces of music from the library. (Photo: The Enquirer/Cara Owsley)
Said Judge: “We’re taking care of music that somebody bought years ago, put on their music stand and played. The decisions being made will affect somebody 40 or 50 years from now.”
This piece of Cincinnati history will have a temporary home at the Public Library of Cincinnati and Hamilton County, Downtown, during construction.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you.’ That’s the goal.”
Mary Judge, principal librarian, CSO
But first, Judge and her two colleagues – Christina Eaton, associate principal librarian and Matt Gray, assistant librarian – are looking at every single piece of music and instrumental or vocal part. All million pieces must be documented and sorted. Some of it – including choral music dating back to the first Cincinnati May Festival in 1873 – is being put into a digital database for the very first time.
Music librarians are accustomed to working behind the scenes. You might see them briefly, as they deliver a score to the conductor’s music stand onstage, and scurry off. They work with the conductor and concertmaster (first violinist) to pencil bowings, dynamic markings and cuts into all of the orchestra parts.
The librarians go on domestic and international tours with the orchestra. And they always stand in the wings with extra batons, should a too-enthusiastic conductor break one during a show. They time every piece as it is performed. That goes into the database, too.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you,’ ” Judge said. “That’s the goal. I float onstage and float off. If you haven’t seen me, I’m doing my job.”
Right now, they are working frantically to pack up and move during the busiest time of year. December has a classical concert, Holiday Pops, Cincinnati Ballet’s “The Nutcracker” (the CSO plays in the pit), Handel’s “Messiah” and a New Year’s Eve tribute to Frank Sinatra.
“We found three days, Dec. 7, 8 and 9, that would work,” Judge said. “One of us will be up here at Music Hall, one will be in the Public Library and one of us will be a runner. Because we have to make sure that this library goes down in order. That’s why it has to be cataloged.”
The entire library represents more than 140 years of music, 120 years for the symphony alone. The collection – music for the Cincinnati Symphony and Pops, May Festival Chorus, Cincinnati Opera, Cincinnati Ballet, Cincinnati Symphony Youth Orchestra, Vocal Arts Ensemble, Classical Roots Community Mass Choir and May Festival Youth Chorus – has been housed in 11 different locations in Music Hall.
And when music director Louis Langrée moved from Paris, they had to make room for his entire personal library of music, too.
Judge, 66, holds up a violin part with markings that go back to the 1800s. That’s the least of it. Other musical finds they have unearthed:
Librarians discovered this score to Easter Parade, Buy Photo
Librarians discovered this score to Easter Parade, the first Pops arrangement made for the orchestra. (Photo: The Enquirer/Janelle Gelfand)
• A handwritten score to Irving Berlin’s “Easter Parade,” the first pops arrangement commissioned for the orchestra by then-music director Thor Johnson. The cover page suggests that “the audience may join in singing at Letter D.”
• The original score to “Reel,” by American composer Henry Cowell, with his stamped envelope addressed to then-music director Eugene Goossens (misspelling his name).
• The Overture to “Sappho” by Carl Goldmark dated 1894, when the May Festival gave its United States premiere under May Festival founder Theodore Thomas.
• The vocal score to Richard Wagner’s opera “Lohengrin,” edited by Thomas, and printed by John Church & Co. of Cincinnati in 1873.
** Dead storage
————————————————————
Organized chaos: An annex up high in the North Wing Buy Photo
Organized chaos: An annex up high in the North Wing of Music Hall has held choral music and other music not used much anymore. (Photo: The Enquirer/Janelle Gelfand)
It’s a massive triage project. Music that is water damaged or crumbling from age will be tossed. Little used but historic scores may find a home at the Public Library or Cincinnati History Library and Archives.
“I’m feeling very pressured,” Judge said. “We’re not purging – some people in the organization are purging. We are pruning. That just feels better. But some of the music is so old, it’s not playable. If you turn it over, it cracks.”
She walked to an overflow room down the hall. Stacks of Cincinnati Pops music – responsible for some of the Pops’ 10 million albums sold – sat in an empty dressing room on roll-away carts. During the summer, they were moved out, so the room could be used by Cincinnati Opera cast members.
Memories bubbled up at the sight. It was Pops founder Erich Kunzel who demanded that the librarians number every measure of every piece for the nearly 100 Pops albums that he recorded. To this day, the practice continues for the fiercely expensive recording sessions, when they have to record a quick retake, say, at measure 217.
Music is stored in a dressing room at Music Hall before Buy Photo
Music is stored in a dressing room at Music Hall before it is moved to the Downtown Public Library while Music Hall is under construction Tuesday Nov. 10, 2015. (Photo: The Enquirer/Cara Owsley)
“Counting the measures, like for symphonies or ‘Appalachian Spring,’ that is my absolute least favorite job,” said Eaton, 36.
Across the building in the North Wing was more overflow. A secret, second-floor room, once used for wrestling, contained a trove of choral music – as well as what Judge called “dead storage” for music no longer needed. A dumbwaiter in the wall stood ready to ferry scores down to the first floor.
Gray, the 25-year-old assistant librarian, has worked there “24/7” to meticulously catalog the May Festival choral repertoire into a massive spreadsheet. He’s determined how many linear feet of space will be needed when it moves into the Public Library’s high density storage.
Assistant librarian Matt Gray has documented the music Buy Photo
Assistant librarian Matt Gray has documented the music by linear feet in preparation for the move. (Photo: The Enquirer/Janelle Gelfand)
“There’s a big push for getting the actual footage of all of this, because when you go to move a huge collection, little numbers can make a big difference,” he said.
Tossed among the piles were arrangements of “God Bless America,” “Be Prepared” – for a special Girl Scout concert – dance band music and Strauss waltzes.
Even dead storage can tell stories. Take the time Keith Lockhart, the Boston Pops conductor who got his start in Cincinnati, was looking for a piece by Copland. He knew that music director Goossens had commissioned Copland’s “Fanfare for the Common Man” for the Cincinnati Symphony. But he’d also heard there was another piece, “Jubilee Variations.” Several famous American composers were asked to write a variation on Goossen’s theme. Copland was one of them, and Lockhart wanted to perform it.
Music is stored in a small room at Music Hall where Buy Photo
Music is stored in a small room at Music Hall where a leak in the roof has caused some of the music to be damaged. (Photo: The Enquirer/Cara Owsley)
“I found it. Then Erich (Kunzel) decided to record it on the Pops’ Copland album. Ever since then, I’ve never dismissed dead storage,” Judge said.
The librarians’ most challenging project was Nathaniel Dett’s oratorio, “The Ordering of Moses,” which May Festival music director James Conlon resurrected for an historic performance and live broadcast in 2014 at Carnegie Hall. Conlon decided to re-edit and re-orchestrate the work. Which meant the librarians had to fix the parts.
“We worked ‘round the clock. It was a little unfinished, shall we say,” Judge recalled. “After every rehearsal, he found something he wanted to rewrite. That was probably the hardest thing I’ve ever done here.”
Conlon was still re-writing on the plane from Cincinnati to New York, and asked Judge to make more changes in the orchestra parts before they played Carnegie Hall.
“At that point, we had to use post-it notes,” she said.
Judge regularly works into the wee hours at Music Hall. As she walks through its halls, another memory surfaces.
Mary Judge, principal librarian, looks at old sheet Buy Photo
Mary Judge, principal librarian, looks at old sheet music Tuesday Nov. 10, 2015 at Music Hall. There are a million pieces of music and 120 years of history in the library at Music Hall. Librarians are moving it to the Downtown Public Library while Music Hall is under construction. Judge has worked at the library for 41 years. (Photo: The Enquirer/Cara Owsley)
“My very first ghost experience was with Erich Kunzel. It was 3 a.m., and we were working on fixing some pops arrangements,” she recalled. “It was the middle of July, and it was so hot. There was no air ventilation, it was awful.”
Her phone rang, and Kunzel asked her to come to his office.
“So, I move into the hallway, and all of a sudden, I am covered in my personal air conditioning. It was really nice. I take a step, I stop, and it stops. I’m going down the hall, in my personal air conditioner,” she said. “I go into Erich’s room, and cross the threshold, and it stops and stays in the hallway. I left his office, and I was surrounded again, until I stepped back into the library.”
She doesn’t know if Music Hall’s ghosts will follow them, or be there when they return.
“I have always felt that the spirits that roam here never threaten,” she said. “They just roam.”
** The music library’s temporary home
————————————————————
The Cincinnati Symphony Orchestra, and other tenants, will move out of Music Hall in June for an intensive construction period. Finding a place to put its rare collection of musical scores was a real challenge, said CSO president Trey Devey. He reached out to Kim Fender, the director of the Public Library of Cincinnati and Hamilton County, who immediately offered space.
“They’ve lifted a weight off our shoulders,” Devey said. “There couldn’t be a better and more protected place than our great library system.”
The collection, all million pieces, will be housed in a high density storage area in the Library’s basement. It will not be open to the public. But CSO librarians and staff will be able to work in that space until they move back into Music Hall, estimated to be fall of 2017.
When they move back to Music Hall, the new library will be in approximately the same place it is now, backstage. However, plans are being drawn to add a mezzanine level with high density storage, Devey said.
“Ultimately all of the collections, whether CSO, Pops, May Festival, Ballet or Opera, will all be maintained within that same footprint, all protected within the same systems. And that is not the case right now. Right now, our library is spread all throughout Music Hall,” he said.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c8eab17efa) | 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=c8eab17efa&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
The Arduous (Fascinating) Task Of Packing Up The World’s Largest Orchestra Music Library: Cincinnati Enquirer
http://www.jazzpromoservices.com/
http://www.cincinnati.com/story/entertainment/arts/2015/12/03/packing-up-preserve-musical-treasure/75582052/
** Packing up to preserve a musical treasure
————————————————————
Janelle Gelfand (http://www.cincinnati.com/staff/9107/janelle-gelfand/) , jgelfand@enquirer.com
Stacks of orchestra music waiting to be cataloged. Boxes and rolls of blue tape. Leaky ceilings. A room of musical scores that looks like it’s been hit by a hurricane.
Since summer, three librarians at the Cincinnati Symphony Orchestra have been up against a daunting deadline. They are trying to put up to a million pieces of music into as much order as possible by Monday, when it all has to be moved out of Music Hall to prepare for the historic hall’s renovation in June.
“We have music in five annexes, all over the place. We have music squirreled everywhere, and pipes have broken on it more than once,” said Mary Judge, CSO’s principal librarian for the last 41 years. “It’s a treasure, and it’s our job to take care and protect it.”
It is the largest orchestra library in the world, and it is a treasure that has been hidden in plain sight. It tells stories of Cincinnati, of its musical organizations, its artists and its audience tastes. It is a history of us.
In a world that is increasingly digital, very little of this library is digital. It is old-world, and hands touch it daily. Over the past century, luminaries who have touched this music include Sergei Rachmaninoff, Leonard Bernstein, Aaron Copland, John Adams and John Philip Sousa.
Christina Eaton, associate librarian, left, and Mary Buy Photo
Christina Eaton, associate librarian, left, and Mary Judge, principal librarian, prepare sheet music for a rehearsal of the Cincinnati Symphony Orchestra. They are juggling their regular job while packing up and moving a million pieces of music from the library. (Photo: The Enquirer/Cara Owsley)
Said Judge: “We’re taking care of music that somebody bought years ago, put on their music stand and played. The decisions being made will affect somebody 40 or 50 years from now.”
This piece of Cincinnati history will have a temporary home at the Public Library of Cincinnati and Hamilton County, Downtown, during construction.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you.’ That’s the goal.”
Mary Judge, principal librarian, CSO
But first, Judge and her two colleagues – Christina Eaton, associate principal librarian and Matt Gray, assistant librarian – are looking at every single piece of music and instrumental or vocal part. All million pieces must be documented and sorted. Some of it – including choral music dating back to the first Cincinnati May Festival in 1873 – is being put into a digital database for the very first time.
Music librarians are accustomed to working behind the scenes. You might see them briefly, as they deliver a score to the conductor’s music stand onstage, and scurry off. They work with the conductor and concertmaster (first violinist) to pencil bowings, dynamic markings and cuts into all of the orchestra parts.
The librarians go on domestic and international tours with the orchestra. And they always stand in the wings with extra batons, should a too-enthusiastic conductor break one during a show. They time every piece as it is performed. That goes into the database, too.
“Sometimes I tell people, I’ve been in the orchestra 40 years. They say, ‘I’ve never seen you,’ ” Judge said. “That’s the goal. I float onstage and float off. If you haven’t seen me, I’m doing my job.”
Right now, they are working frantically to pack up and move during the busiest time of year. December has a classical concert, Holiday Pops, Cincinnati Ballet’s “The Nutcracker” (the CSO plays in the pit), Handel’s “Messiah” and a New Year’s Eve tribute to Frank Sinatra.
“We found three days, Dec. 7, 8 and 9, that would work,” Judge said. “One of us will be up here at Music Hall, one will be in the Public Library and one of us will be a runner. Because we have to make sure that this library goes down in order. That’s why it has to be cataloged.”
The entire library represents more than 140 years of music, 120 years for the symphony alone. The collection – music for the Cincinnati Symphony and Pops, May Festival Chorus, Cincinnati Opera, Cincinnati Ballet, Cincinnati Symphony Youth Orchestra, Vocal Arts Ensemble, Classical Roots Community Mass Choir and May Festival Youth Chorus – has been housed in 11 different locations in Music Hall.
And when music director Louis Langrée moved from Paris, they had to make room for his entire personal library of music, too.
Judge, 66, holds up a violin part with markings that go back to the 1800s. That’s the least of it. Other musical finds they have unearthed:
Librarians discovered this score to Easter Parade, Buy Photo
Librarians discovered this score to Easter Parade, the first Pops arrangement made for the orchestra. (Photo: The Enquirer/Janelle Gelfand)
• A handwritten score to Irving Berlin’s “Easter Parade,” the first pops arrangement commissioned for the orchestra by then-music director Thor Johnson. The cover page suggests that “the audience may join in singing at Letter D.”
• The original score to “Reel,” by American composer Henry Cowell, with his stamped envelope addressed to then-music director Eugene Goossens (misspelling his name).
• The Overture to “Sappho” by Carl Goldmark dated 1894, when the May Festival gave its United States premiere under May Festival founder Theodore Thomas.
• The vocal score to Richard Wagner’s opera “Lohengrin,” edited by Thomas, and printed by John Church & Co. of Cincinnati in 1873.
** Dead storage
————————————————————
Organized chaos: An annex up high in the North Wing Buy Photo
Organized chaos: An annex up high in the North Wing of Music Hall has held choral music and other music not used much anymore. (Photo: The Enquirer/Janelle Gelfand)
It’s a massive triage project. Music that is water damaged or crumbling from age will be tossed. Little used but historic scores may find a home at the Public Library or Cincinnati History Library and Archives.
“I’m feeling very pressured,” Judge said. “We’re not purging – some people in the organization are purging. We are pruning. That just feels better. But some of the music is so old, it’s not playable. If you turn it over, it cracks.”
She walked to an overflow room down the hall. Stacks of Cincinnati Pops music – responsible for some of the Pops’ 10 million albums sold – sat in an empty dressing room on roll-away carts. During the summer, they were moved out, so the room could be used by Cincinnati Opera cast members.
Memories bubbled up at the sight. It was Pops founder Erich Kunzel who demanded that the librarians number every measure of every piece for the nearly 100 Pops albums that he recorded. To this day, the practice continues for the fiercely expensive recording sessions, when they have to record a quick retake, say, at measure 217.
Music is stored in a dressing room at Music Hall before Buy Photo
Music is stored in a dressing room at Music Hall before it is moved to the Downtown Public Library while Music Hall is under construction Tuesday Nov. 10, 2015. (Photo: The Enquirer/Cara Owsley)
“Counting the measures, like for symphonies or ‘Appalachian Spring,’ that is my absolute least favorite job,” said Eaton, 36.
Across the building in the North Wing was more overflow. A secret, second-floor room, once used for wrestling, contained a trove of choral music – as well as what Judge called “dead storage” for music no longer needed. A dumbwaiter in the wall stood ready to ferry scores down to the first floor.
Gray, the 25-year-old assistant librarian, has worked there “24/7” to meticulously catalog the May Festival choral repertoire into a massive spreadsheet. He’s determined how many linear feet of space will be needed when it moves into the Public Library’s high density storage.
Assistant librarian Matt Gray has documented the music Buy Photo
Assistant librarian Matt Gray has documented the music by linear feet in preparation for the move. (Photo: The Enquirer/Janelle Gelfand)
“There’s a big push for getting the actual footage of all of this, because when you go to move a huge collection, little numbers can make a big difference,” he said.
Tossed among the piles were arrangements of “God Bless America,” “Be Prepared” – for a special Girl Scout concert – dance band music and Strauss waltzes.
Even dead storage can tell stories. Take the time Keith Lockhart, the Boston Pops conductor who got his start in Cincinnati, was looking for a piece by Copland. He knew that music director Goossens had commissioned Copland’s “Fanfare for the Common Man” for the Cincinnati Symphony. But he’d also heard there was another piece, “Jubilee Variations.” Several famous American composers were asked to write a variation on Goossen’s theme. Copland was one of them, and Lockhart wanted to perform it.
Music is stored in a small room at Music Hall where Buy Photo
Music is stored in a small room at Music Hall where a leak in the roof has caused some of the music to be damaged. (Photo: The Enquirer/Cara Owsley)
“I found it. Then Erich (Kunzel) decided to record it on the Pops’ Copland album. Ever since then, I’ve never dismissed dead storage,” Judge said.
The librarians’ most challenging project was Nathaniel Dett’s oratorio, “The Ordering of Moses,” which May Festival music director James Conlon resurrected for an historic performance and live broadcast in 2014 at Carnegie Hall. Conlon decided to re-edit and re-orchestrate the work. Which meant the librarians had to fix the parts.
“We worked ‘round the clock. It was a little unfinished, shall we say,” Judge recalled. “After every rehearsal, he found something he wanted to rewrite. That was probably the hardest thing I’ve ever done here.”
Conlon was still re-writing on the plane from Cincinnati to New York, and asked Judge to make more changes in the orchestra parts before they played Carnegie Hall.
“At that point, we had to use post-it notes,” she said.
Judge regularly works into the wee hours at Music Hall. As she walks through its halls, another memory surfaces.
Mary Judge, principal librarian, looks at old sheet Buy Photo
Mary Judge, principal librarian, looks at old sheet music Tuesday Nov. 10, 2015 at Music Hall. There are a million pieces of music and 120 years of history in the library at Music Hall. Librarians are moving it to the Downtown Public Library while Music Hall is under construction. Judge has worked at the library for 41 years. (Photo: The Enquirer/Cara Owsley)
“My very first ghost experience was with Erich Kunzel. It was 3 a.m., and we were working on fixing some pops arrangements,” she recalled. “It was the middle of July, and it was so hot. There was no air ventilation, it was awful.”
Her phone rang, and Kunzel asked her to come to his office.
“So, I move into the hallway, and all of a sudden, I am covered in my personal air conditioning. It was really nice. I take a step, I stop, and it stops. I’m going down the hall, in my personal air conditioner,” she said. “I go into Erich’s room, and cross the threshold, and it stops and stays in the hallway. I left his office, and I was surrounded again, until I stepped back into the library.”
She doesn’t know if Music Hall’s ghosts will follow them, or be there when they return.
“I have always felt that the spirits that roam here never threaten,” she said. “They just roam.”
** The music library’s temporary home
————————————————————
The Cincinnati Symphony Orchestra, and other tenants, will move out of Music Hall in June for an intensive construction period. Finding a place to put its rare collection of musical scores was a real challenge, said CSO president Trey Devey. He reached out to Kim Fender, the director of the Public Library of Cincinnati and Hamilton County, who immediately offered space.
“They’ve lifted a weight off our shoulders,” Devey said. “There couldn’t be a better and more protected place than our great library system.”
The collection, all million pieces, will be housed in a high density storage area in the Library’s basement. It will not be open to the public. But CSO librarians and staff will be able to work in that space until they move back into Music Hall, estimated to be fall of 2017.
When they move back to Music Hall, the new library will be in approximately the same place it is now, backstage. However, plans are being drawn to add a mezzanine level with high density storage, Devey said.
“Ultimately all of the collections, whether CSO, Pops, May Festival, Ballet or Opera, will all be maintained within that same footprint, all protected within the same systems. And that is not the case right now. Right now, our library is spread all throughout Music Hall,” he said.
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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When Does a Medium Die? – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/sorry-urban-shoppers-vinyl-is-over?utm_source=Pacific%20Standard%20Newsletter
** When Does a Medium Die?
————————————————————
RICK PAULAS (http://www.psmag.com/author/rick-paulas)
DEC 4, 2015
DRs Kulturarvsprojekt/Flickr)” tml-render-layout=”breakout”>
Remember these? (Photo: DRs Kulturarvsprojekt/Flickr) Remember these? (Photo: DRs Kulturarvsprojekt/Flickr (https://www.flickr.com/photos/kulturarvsprojektet/6498610705/) )
In my attic sits a cardboard box filled with objects I used to love. In total, they cost me at least $1,000—a sum that’s reflective of the mid-’90s, when my only income was the $20 I made every week from cutting my grandmother’s lawn.
This box is full of compact discs, and they are now worthless, or very close to it. The cost of physically taking the time to go through the box, or filling up my car to drop them off at the used record store so that they can be someone else’s problem, is greater than the pittances I would earn hawking them online. What went for $15.99 at Best Buy in 1995 is now worth exactly one cent on Amazon. Even I don’t own a CD player anymore.
The compact disc is, in other words, a dead medium. Though today hipsters still listen to music on vinyl (http://www.digitaltrends.com/music/vinyl-revival-continues-q1-2015/) or cassette tapes (https://www.washingtonpost.com/news/the-intersect/wp/2015/09/09/apparently-not-content-with-vinyl-hipsters-are-also-bringing-back-the-cassette/) , for most of us albums are downloads, no longer signified by pricey physical shells. When Adèle released her latest album only on CD, BuzzFeed published an operations manual (http://www.buzzfeed.com/katienotopoulos/a-step-by-step-guide-of-how-to-play-the-adele-cd-for-young-p?utm_term=.sewE4LQ02#.um5Dp7ok4) . In 2015, as physical mediums experience revivals in niche circles, and approach extinction among the masses, it bears asking: Just what constitutes a dead medium? And when do they die? The answer is more complex than it seems.
The death of the compact disc is nothing new. Mediums have come and gone as long as mediums of transmission have been around.
“Human needs remain the same, and as societies we are always trying to come up with new ways of addressing them,” Dr. Janet Steele, an associate professor of journalism at George Washington University, writes in an email. She studies how culture is communicated through mass media. For example: “In Indonesia, where I am now, boys and girls in Muslim boarding skills have always wanted to meet one another, even though it was forbidden. In the olden days, they passed notes—now they use Facebook. So a new technology has enabled us to do something we were always doing, but in a ‘better’ way. Is something lost? Sure.”
Conversation about what is lost nevertheless tends to proliferate on the mediums of the day. So it was when, in 1995, sci-fi novelist Bruce Sterling noticed that digital mediums were taking over the era’s analog communication landscape. “Our culture is experiencing a profound radiation of new species of media,” he wrote in the opening manifesto (http://www.deadmedia.org/modest-proposal.html) of what would become the Dead Media Project (http://www.deadmedia.org/) , a database of extinct mediums. “The centralized, dinosaurian one- to-many media that roared and trampled through the 20th century are poorly adapted to the postmodern technological environment.” Sterling listed some misfit media that had already perished: The phenakistoscope. The teleharmonium. The Edison wax cylinder. The steropticon. The Panorama.
The piece resulted in an electronic mailing list that included roughly 200 people debating what, exactly, constituted a dead medium. The exchange went something like this: Someone would nominate a medium; a healthy and voracious e-argument would ensue; and Tom Jennings, the moderator and editor, would compose an official “field note” when the group reached a conclusion. The list identified extinguished platforms that ranged from a refrigerator-mounted talking note pad (http://www.deadmedia.org/notes/5/052.html) to talking greeting cards (http://www.deadmedia.org/notes/25/259.html) . (The project itself, last updated in 2001, is not only dead, but lives on the dead medium of a “listserv.” To you kiddos out there, this is essentially a curated mailing list to subscribers over email.)
** The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes.
————————————————————
Perhaps the most interesting listings on the Dead Media Project are the controversial ones. The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes (http://www.deadmedia.org/notes/index-cat.html#pg) . Homing pigeons are still trained and used in the sport of pigeon racing (http://herald-review.com/news/local/wing-and-a-prayer-fanciers-find-fulfillment-in-pigeon-racing/article_9890d026-64e6-5dd5-9a8f-32b9de443653.html) , and pneumatic tubes aren’t making a comeback so much as they’ve never officially left (https://www.newscientist.com/article/mg21929300.800-newmatics-antique-tubular-messaging-returns/?full=true#.Ugt-G2Q4UxQ) . “We used to have to continually swat [the pigeon and tube doomsdayers] away,” Jennings argues when I reach him by phone. “[Those mediums are] not dead.” But the decision regarding whether some medium was alive or dead wasn’t always so clear cut. Take, for instance, vinyl records: There are plenty of musicians still releasing
vinyl, plenty of record shops carrying crates of the shiny, round discs, and plenty of hipsters with money to burn (http://qz.com/323345/the-vinyl-revival-is-not-about-sound-its-about-identity/) . But: “It’s a dead medium,” Jennings said. “Vinyl is now a fetish commodity.”
Or take the punched paper tape (https://en.wikipedia.org/wiki/Punched_tape) method of computer storage, which was popular in the 1950s and ’60s, when computers read paper rolls of instructions to run programs. (Microsoft Word 5.0 on an old Mac computer, for example, took 360,000 rolls of paper tape for its operations.) “It’s cool,” Jennings says. “But it’s a terrible medium.” While there still exists a niche market for punched paper tape—Jennings, who has the equipment to run it, enjoys occasionally scouring websites for sales—its practical use-value no longer exists.
For Jennings, adoration of dead mediums like punched paper tape or vinyl don’t stem from a sense of misplaced nostalgia, or an inaccurate belief in “the quality” of old mediums. “I care about old things, but it’s not because I had any involvement with them,” Jennings says. “It’s like an alien world you get to visit.” It’s easy to see how the transportive quality of old media might also explain the appeal of records to youngsters who find them at physical music stores or Urban Outfitters today. Every time a teenager drops a pair of Andrew Jacksons on a new vinyl record today, she buys a ticket to an analog world she missed out on.
The Dead Media Project wasn’t recording a unique phenomenon. But it did capture a distinct moment in time: when a paradigm shift occurred in what people considered mediums in the first place. At the height of the Dead Media Project, more mediums were coming and going, and at quicker rates, than ever before. Fierce, protracted battles flared up between Betamax and VHS, DATs and cassette tapes, Blu-ray and HD-DVD, vinyl and the compact disc—which ultimately became bloodbaths with no survivors. And now?
“We don’t have any replacement,” Jennings says. “A medium doesn’t really exist anymore.”
To understand what is happening to physical mediums today, we must first unpack what we mean by “medium.” Classically, “medium” signifies a mechanism for transporting information, such as a written letter, a smoke signal, or calligraphy. While that definition still exists, in recent decades information transmission mediums have become intertwined with capitalism. “Media means the little plate that the credit card goes on at the restaurant,” says Jennings, who also teaches art and technology at CalArts. Media is no longer only about people communicating with one another. It’s also now about that method’s ability to be monetized.
Take, for example, the delivery of music. The sales method used to be simple: A company owned the distribution of that medium, and those wanting to hear it paid to own a copy of the medium. But a strange thing happened with the transition into the digital format. As David Byrne put it in a 2007 op-ed (http://archive.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all) for Wired, the entire industry shifted:
What is called the music business today, however, is not the business of producing music. At some point it became the business of selling CDs in plastic cases, and that business will soon be over.
The dissonance between the industry’s creative ambitions and commercial reality initially led to anger and despair, according to Jennings. But the industry soon figured it out. Remember back in the early days of the music industry’s so-called collapse, when Metallica was fighting Napster (http://ultimateclassicrock.com/metallica-napster-lawsuit/) and everyone was buying 100 blank CDs for $10 to pirate as much music as they could? Now, recall the last time you actually copied a piece of music. The reason isn’t because the music industry solved piracy, but because consumers simply don’t need the medium once used to steal music anymore. “You used to download music, swap them around like files,” Jennings says. “Now you can’t even buy containers for them.” To the buyer, this is slightly more convenient. To the industry, this is a huge achievement.
These days, listeners pay music companies for the ability to access the material, not for vessels that contain the material itself. Sure, the shift toward online streaming provides some new freedoms for the consumer: a listener can access her music whenever she wants on Spotify or Pandora. But, ultimately, it’s on the terms of the provider, “locked into,” as Jennings puts it, a corporate-owned device. From the delivery service of the music, to whatever player it’s run on, to your ears—or, your eyes, if you want to take a side-trip to movies—there is no point along the path that allows consumers to remove the contents, collect them, or copy them. Make no mistake about it, this access-only model is the future of media.
Money, same as it ever was, is behind the change. You can’t resell media if you can’t copy it, and you can’t copy what you don’t own. And so, while vinyl records, or DVDs, or maybe even VHS tapes—if, for some silly reason, that terrible medium decides to make a comeback—will continue to exist, and you’ll be able to purchase them from certain “fetish commodity” stores, they’ll never be living, breathing mediums again. In the end, the next dead medium may be the concept of mediums itself.
The Sociological Imagination (http://www.psmag.com/series/the-sociological-imagination) is a regular Pacific Standard column exploring the bizarre side of the everyday encounters and behaviors that society rarely questions.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
When Does a Medium Die? – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/sorry-urban-shoppers-vinyl-is-over?utm_source=Pacific%20Standard%20Newsletter
** When Does a Medium Die?
————————————————————
RICK PAULAS (http://www.psmag.com/author/rick-paulas)
DEC 4, 2015
DRs Kulturarvsprojekt/Flickr)” tml-render-layout=”breakout”>
Remember these? (Photo: DRs Kulturarvsprojekt/Flickr) Remember these? (Photo: DRs Kulturarvsprojekt/Flickr (https://www.flickr.com/photos/kulturarvsprojektet/6498610705/) )
In my attic sits a cardboard box filled with objects I used to love. In total, they cost me at least $1,000—a sum that’s reflective of the mid-’90s, when my only income was the $20 I made every week from cutting my grandmother’s lawn.
This box is full of compact discs, and they are now worthless, or very close to it. The cost of physically taking the time to go through the box, or filling up my car to drop them off at the used record store so that they can be someone else’s problem, is greater than the pittances I would earn hawking them online. What went for $15.99 at Best Buy in 1995 is now worth exactly one cent on Amazon. Even I don’t own a CD player anymore.
The compact disc is, in other words, a dead medium. Though today hipsters still listen to music on vinyl (http://www.digitaltrends.com/music/vinyl-revival-continues-q1-2015/) or cassette tapes (https://www.washingtonpost.com/news/the-intersect/wp/2015/09/09/apparently-not-content-with-vinyl-hipsters-are-also-bringing-back-the-cassette/) , for most of us albums are downloads, no longer signified by pricey physical shells. When Adèle released her latest album only on CD, BuzzFeed published an operations manual (http://www.buzzfeed.com/katienotopoulos/a-step-by-step-guide-of-how-to-play-the-adele-cd-for-young-p?utm_term=.sewE4LQ02#.um5Dp7ok4) . In 2015, as physical mediums experience revivals in niche circles, and approach extinction among the masses, it bears asking: Just what constitutes a dead medium? And when do they die? The answer is more complex than it seems.
The death of the compact disc is nothing new. Mediums have come and gone as long as mediums of transmission have been around.
“Human needs remain the same, and as societies we are always trying to come up with new ways of addressing them,” Dr. Janet Steele, an associate professor of journalism at George Washington University, writes in an email. She studies how culture is communicated through mass media. For example: “In Indonesia, where I am now, boys and girls in Muslim boarding skills have always wanted to meet one another, even though it was forbidden. In the olden days, they passed notes—now they use Facebook. So a new technology has enabled us to do something we were always doing, but in a ‘better’ way. Is something lost? Sure.”
Conversation about what is lost nevertheless tends to proliferate on the mediums of the day. So it was when, in 1995, sci-fi novelist Bruce Sterling noticed that digital mediums were taking over the era’s analog communication landscape. “Our culture is experiencing a profound radiation of new species of media,” he wrote in the opening manifesto (http://www.deadmedia.org/modest-proposal.html) of what would become the Dead Media Project (http://www.deadmedia.org/) , a database of extinct mediums. “The centralized, dinosaurian one- to-many media that roared and trampled through the 20th century are poorly adapted to the postmodern technological environment.” Sterling listed some misfit media that had already perished: The phenakistoscope. The teleharmonium. The Edison wax cylinder. The steropticon. The Panorama.
The piece resulted in an electronic mailing list that included roughly 200 people debating what, exactly, constituted a dead medium. The exchange went something like this: Someone would nominate a medium; a healthy and voracious e-argument would ensue; and Tom Jennings, the moderator and editor, would compose an official “field note” when the group reached a conclusion. The list identified extinguished platforms that ranged from a refrigerator-mounted talking note pad (http://www.deadmedia.org/notes/5/052.html) to talking greeting cards (http://www.deadmedia.org/notes/25/259.html) . (The project itself, last updated in 2001, is not only dead, but lives on the dead medium of a “listserv.” To you kiddos out there, this is essentially a curated mailing list to subscribers over email.)
** The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes.
————————————————————
Perhaps the most interesting listings on the Dead Media Project are the controversial ones. The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes (http://www.deadmedia.org/notes/index-cat.html#pg) . Homing pigeons are still trained and used in the sport of pigeon racing (http://herald-review.com/news/local/wing-and-a-prayer-fanciers-find-fulfillment-in-pigeon-racing/article_9890d026-64e6-5dd5-9a8f-32b9de443653.html) , and pneumatic tubes aren’t making a comeback so much as they’ve never officially left (https://www.newscientist.com/article/mg21929300.800-newmatics-antique-tubular-messaging-returns/?full=true#.Ugt-G2Q4UxQ) . “We used to have to continually swat [the pigeon and tube doomsdayers] away,” Jennings argues when I reach him by phone. “[Those mediums are] not dead.” But the decision regarding whether some medium was alive or dead wasn’t always so clear cut. Take, for instance, vinyl records: There are plenty of musicians still releasing
vinyl, plenty of record shops carrying crates of the shiny, round discs, and plenty of hipsters with money to burn (http://qz.com/323345/the-vinyl-revival-is-not-about-sound-its-about-identity/) . But: “It’s a dead medium,” Jennings said. “Vinyl is now a fetish commodity.”
Or take the punched paper tape (https://en.wikipedia.org/wiki/Punched_tape) method of computer storage, which was popular in the 1950s and ’60s, when computers read paper rolls of instructions to run programs. (Microsoft Word 5.0 on an old Mac computer, for example, took 360,000 rolls of paper tape for its operations.) “It’s cool,” Jennings says. “But it’s a terrible medium.” While there still exists a niche market for punched paper tape—Jennings, who has the equipment to run it, enjoys occasionally scouring websites for sales—its practical use-value no longer exists.
For Jennings, adoration of dead mediums like punched paper tape or vinyl don’t stem from a sense of misplaced nostalgia, or an inaccurate belief in “the quality” of old mediums. “I care about old things, but it’s not because I had any involvement with them,” Jennings says. “It’s like an alien world you get to visit.” It’s easy to see how the transportive quality of old media might also explain the appeal of records to youngsters who find them at physical music stores or Urban Outfitters today. Every time a teenager drops a pair of Andrew Jacksons on a new vinyl record today, she buys a ticket to an analog world she missed out on.
The Dead Media Project wasn’t recording a unique phenomenon. But it did capture a distinct moment in time: when a paradigm shift occurred in what people considered mediums in the first place. At the height of the Dead Media Project, more mediums were coming and going, and at quicker rates, than ever before. Fierce, protracted battles flared up between Betamax and VHS, DATs and cassette tapes, Blu-ray and HD-DVD, vinyl and the compact disc—which ultimately became bloodbaths with no survivors. And now?
“We don’t have any replacement,” Jennings says. “A medium doesn’t really exist anymore.”
To understand what is happening to physical mediums today, we must first unpack what we mean by “medium.” Classically, “medium” signifies a mechanism for transporting information, such as a written letter, a smoke signal, or calligraphy. While that definition still exists, in recent decades information transmission mediums have become intertwined with capitalism. “Media means the little plate that the credit card goes on at the restaurant,” says Jennings, who also teaches art and technology at CalArts. Media is no longer only about people communicating with one another. It’s also now about that method’s ability to be monetized.
Take, for example, the delivery of music. The sales method used to be simple: A company owned the distribution of that medium, and those wanting to hear it paid to own a copy of the medium. But a strange thing happened with the transition into the digital format. As David Byrne put it in a 2007 op-ed (http://archive.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all) for Wired, the entire industry shifted:
What is called the music business today, however, is not the business of producing music. At some point it became the business of selling CDs in plastic cases, and that business will soon be over.
The dissonance between the industry’s creative ambitions and commercial reality initially led to anger and despair, according to Jennings. But the industry soon figured it out. Remember back in the early days of the music industry’s so-called collapse, when Metallica was fighting Napster (http://ultimateclassicrock.com/metallica-napster-lawsuit/) and everyone was buying 100 blank CDs for $10 to pirate as much music as they could? Now, recall the last time you actually copied a piece of music. The reason isn’t because the music industry solved piracy, but because consumers simply don’t need the medium once used to steal music anymore. “You used to download music, swap them around like files,” Jennings says. “Now you can’t even buy containers for them.” To the buyer, this is slightly more convenient. To the industry, this is a huge achievement.
These days, listeners pay music companies for the ability to access the material, not for vessels that contain the material itself. Sure, the shift toward online streaming provides some new freedoms for the consumer: a listener can access her music whenever she wants on Spotify or Pandora. But, ultimately, it’s on the terms of the provider, “locked into,” as Jennings puts it, a corporate-owned device. From the delivery service of the music, to whatever player it’s run on, to your ears—or, your eyes, if you want to take a side-trip to movies—there is no point along the path that allows consumers to remove the contents, collect them, or copy them. Make no mistake about it, this access-only model is the future of media.
Money, same as it ever was, is behind the change. You can’t resell media if you can’t copy it, and you can’t copy what you don’t own. And so, while vinyl records, or DVDs, or maybe even VHS tapes—if, for some silly reason, that terrible medium decides to make a comeback—will continue to exist, and you’ll be able to purchase them from certain “fetish commodity” stores, they’ll never be living, breathing mediums again. In the end, the next dead medium may be the concept of mediums itself.
The Sociological Imagination (http://www.psmag.com/series/the-sociological-imagination) is a regular Pacific Standard column exploring the bizarre side of the everyday encounters and behaviors that society rarely questions.
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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When Does a Medium Die? – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/sorry-urban-shoppers-vinyl-is-over?utm_source=Pacific%20Standard%20Newsletter
** When Does a Medium Die?
————————————————————
RICK PAULAS (http://www.psmag.com/author/rick-paulas)
DEC 4, 2015
DRs Kulturarvsprojekt/Flickr)” tml-render-layout=”breakout”>
Remember these? (Photo: DRs Kulturarvsprojekt/Flickr) Remember these? (Photo: DRs Kulturarvsprojekt/Flickr (https://www.flickr.com/photos/kulturarvsprojektet/6498610705/) )
In my attic sits a cardboard box filled with objects I used to love. In total, they cost me at least $1,000—a sum that’s reflective of the mid-’90s, when my only income was the $20 I made every week from cutting my grandmother’s lawn.
This box is full of compact discs, and they are now worthless, or very close to it. The cost of physically taking the time to go through the box, or filling up my car to drop them off at the used record store so that they can be someone else’s problem, is greater than the pittances I would earn hawking them online. What went for $15.99 at Best Buy in 1995 is now worth exactly one cent on Amazon. Even I don’t own a CD player anymore.
The compact disc is, in other words, a dead medium. Though today hipsters still listen to music on vinyl (http://www.digitaltrends.com/music/vinyl-revival-continues-q1-2015/) or cassette tapes (https://www.washingtonpost.com/news/the-intersect/wp/2015/09/09/apparently-not-content-with-vinyl-hipsters-are-also-bringing-back-the-cassette/) , for most of us albums are downloads, no longer signified by pricey physical shells. When Adèle released her latest album only on CD, BuzzFeed published an operations manual (http://www.buzzfeed.com/katienotopoulos/a-step-by-step-guide-of-how-to-play-the-adele-cd-for-young-p?utm_term=.sewE4LQ02#.um5Dp7ok4) . In 2015, as physical mediums experience revivals in niche circles, and approach extinction among the masses, it bears asking: Just what constitutes a dead medium? And when do they die? The answer is more complex than it seems.
The death of the compact disc is nothing new. Mediums have come and gone as long as mediums of transmission have been around.
“Human needs remain the same, and as societies we are always trying to come up with new ways of addressing them,” Dr. Janet Steele, an associate professor of journalism at George Washington University, writes in an email. She studies how culture is communicated through mass media. For example: “In Indonesia, where I am now, boys and girls in Muslim boarding skills have always wanted to meet one another, even though it was forbidden. In the olden days, they passed notes—now they use Facebook. So a new technology has enabled us to do something we were always doing, but in a ‘better’ way. Is something lost? Sure.”
Conversation about what is lost nevertheless tends to proliferate on the mediums of the day. So it was when, in 1995, sci-fi novelist Bruce Sterling noticed that digital mediums were taking over the era’s analog communication landscape. “Our culture is experiencing a profound radiation of new species of media,” he wrote in the opening manifesto (http://www.deadmedia.org/modest-proposal.html) of what would become the Dead Media Project (http://www.deadmedia.org/) , a database of extinct mediums. “The centralized, dinosaurian one- to-many media that roared and trampled through the 20th century are poorly adapted to the postmodern technological environment.” Sterling listed some misfit media that had already perished: The phenakistoscope. The teleharmonium. The Edison wax cylinder. The steropticon. The Panorama.
The piece resulted in an electronic mailing list that included roughly 200 people debating what, exactly, constituted a dead medium. The exchange went something like this: Someone would nominate a medium; a healthy and voracious e-argument would ensue; and Tom Jennings, the moderator and editor, would compose an official “field note” when the group reached a conclusion. The list identified extinguished platforms that ranged from a refrigerator-mounted talking note pad (http://www.deadmedia.org/notes/5/052.html) to talking greeting cards (http://www.deadmedia.org/notes/25/259.html) . (The project itself, last updated in 2001, is not only dead, but lives on the dead medium of a “listserv.” To you kiddos out there, this is essentially a curated mailing list to subscribers over email.)
** The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes.
————————————————————
Perhaps the most interesting listings on the Dead Media Project are the controversial ones. The two most contentious items on Jennings’ list? Carrier pigeons and pneumatic tubes (http://www.deadmedia.org/notes/index-cat.html#pg) . Homing pigeons are still trained and used in the sport of pigeon racing (http://herald-review.com/news/local/wing-and-a-prayer-fanciers-find-fulfillment-in-pigeon-racing/article_9890d026-64e6-5dd5-9a8f-32b9de443653.html) , and pneumatic tubes aren’t making a comeback so much as they’ve never officially left (https://www.newscientist.com/article/mg21929300.800-newmatics-antique-tubular-messaging-returns/?full=true#.Ugt-G2Q4UxQ) . “We used to have to continually swat [the pigeon and tube doomsdayers] away,” Jennings argues when I reach him by phone. “[Those mediums are] not dead.” But the decision regarding whether some medium was alive or dead wasn’t always so clear cut. Take, for instance, vinyl records: There are plenty of musicians still releasing
vinyl, plenty of record shops carrying crates of the shiny, round discs, and plenty of hipsters with money to burn (http://qz.com/323345/the-vinyl-revival-is-not-about-sound-its-about-identity/) . But: “It’s a dead medium,” Jennings said. “Vinyl is now a fetish commodity.”
Or take the punched paper tape (https://en.wikipedia.org/wiki/Punched_tape) method of computer storage, which was popular in the 1950s and ’60s, when computers read paper rolls of instructions to run programs. (Microsoft Word 5.0 on an old Mac computer, for example, took 360,000 rolls of paper tape for its operations.) “It’s cool,” Jennings says. “But it’s a terrible medium.” While there still exists a niche market for punched paper tape—Jennings, who has the equipment to run it, enjoys occasionally scouring websites for sales—its practical use-value no longer exists.
For Jennings, adoration of dead mediums like punched paper tape or vinyl don’t stem from a sense of misplaced nostalgia, or an inaccurate belief in “the quality” of old mediums. “I care about old things, but it’s not because I had any involvement with them,” Jennings says. “It’s like an alien world you get to visit.” It’s easy to see how the transportive quality of old media might also explain the appeal of records to youngsters who find them at physical music stores or Urban Outfitters today. Every time a teenager drops a pair of Andrew Jacksons on a new vinyl record today, she buys a ticket to an analog world she missed out on.
The Dead Media Project wasn’t recording a unique phenomenon. But it did capture a distinct moment in time: when a paradigm shift occurred in what people considered mediums in the first place. At the height of the Dead Media Project, more mediums were coming and going, and at quicker rates, than ever before. Fierce, protracted battles flared up between Betamax and VHS, DATs and cassette tapes, Blu-ray and HD-DVD, vinyl and the compact disc—which ultimately became bloodbaths with no survivors. And now?
“We don’t have any replacement,” Jennings says. “A medium doesn’t really exist anymore.”
To understand what is happening to physical mediums today, we must first unpack what we mean by “medium.” Classically, “medium” signifies a mechanism for transporting information, such as a written letter, a smoke signal, or calligraphy. While that definition still exists, in recent decades information transmission mediums have become intertwined with capitalism. “Media means the little plate that the credit card goes on at the restaurant,” says Jennings, who also teaches art and technology at CalArts. Media is no longer only about people communicating with one another. It’s also now about that method’s ability to be monetized.
Take, for example, the delivery of music. The sales method used to be simple: A company owned the distribution of that medium, and those wanting to hear it paid to own a copy of the medium. But a strange thing happened with the transition into the digital format. As David Byrne put it in a 2007 op-ed (http://archive.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all) for Wired, the entire industry shifted:
What is called the music business today, however, is not the business of producing music. At some point it became the business of selling CDs in plastic cases, and that business will soon be over.
The dissonance between the industry’s creative ambitions and commercial reality initially led to anger and despair, according to Jennings. But the industry soon figured it out. Remember back in the early days of the music industry’s so-called collapse, when Metallica was fighting Napster (http://ultimateclassicrock.com/metallica-napster-lawsuit/) and everyone was buying 100 blank CDs for $10 to pirate as much music as they could? Now, recall the last time you actually copied a piece of music. The reason isn’t because the music industry solved piracy, but because consumers simply don’t need the medium once used to steal music anymore. “You used to download music, swap them around like files,” Jennings says. “Now you can’t even buy containers for them.” To the buyer, this is slightly more convenient. To the industry, this is a huge achievement.
These days, listeners pay music companies for the ability to access the material, not for vessels that contain the material itself. Sure, the shift toward online streaming provides some new freedoms for the consumer: a listener can access her music whenever she wants on Spotify or Pandora. But, ultimately, it’s on the terms of the provider, “locked into,” as Jennings puts it, a corporate-owned device. From the delivery service of the music, to whatever player it’s run on, to your ears—or, your eyes, if you want to take a side-trip to movies—there is no point along the path that allows consumers to remove the contents, collect them, or copy them. Make no mistake about it, this access-only model is the future of media.
Money, same as it ever was, is behind the change. You can’t resell media if you can’t copy it, and you can’t copy what you don’t own. And so, while vinyl records, or DVDs, or maybe even VHS tapes—if, for some silly reason, that terrible medium decides to make a comeback—will continue to exist, and you’ll be able to purchase them from certain “fetish commodity” stores, they’ll never be living, breathing mediums again. In the end, the next dead medium may be the concept of mediums itself.
The Sociological Imagination (http://www.psmag.com/series/the-sociological-imagination) is a regular Pacific Standard column exploring the bizarre side of the everyday encounters and behaviors that society rarely questions.
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
Irving FIELDS ” Mexican Hotfoot ” !!! – YouTube
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Believe it or not Irving Fields is still performing at 100 years old:
IRVING FIELDS (http://www.irvingfields.net/index.html) performs every FRIDAY, SATURDAY and SUNDAY
Noon to 3pm
at the Park Lane Hotel, New York City (Park Room Restaurant)
36 Central Park South (between Fifth and Sixth Avenues)
212-521-6655
www.parklanenewyork.com (http://www.parklanenewyork.com/)
https://www.youtube.com/watch?v=hGv86yyZbFM
https://www.youtube.com/watch?v=hGv86yyZbFM
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
Irving FIELDS ” Mexican Hotfoot ” !!! – YouTube
http://www.jazzpromoservices.com/
Believe it or not Irving Fields is still performing at 100 years old:
IRVING FIELDS (http://www.irvingfields.net/index.html) performs every FRIDAY, SATURDAY and SUNDAY
Noon to 3pm
at the Park Lane Hotel, New York City (Park Room Restaurant)
36 Central Park South (between Fifth and Sixth Avenues)
212-521-6655
www.parklanenewyork.com (http://www.parklanenewyork.com/)
https://www.youtube.com/watch?v=hGv86yyZbFM
https://www.youtube.com/watch?v=hGv86yyZbFM
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Irving FIELDS ” Mexican Hotfoot ” !!! – YouTube
http://www.jazzpromoservices.com/
Believe it or not Irving Fields is still performing at 100 years old:
IRVING FIELDS (http://www.irvingfields.net/index.html) performs every FRIDAY, SATURDAY and SUNDAY
Noon to 3pm
at the Park Lane Hotel, New York City (Park Room Restaurant)
36 Central Park South (between Fifth and Sixth Avenues)
212-521-6655
www.parklanenewyork.com (http://www.parklanenewyork.com/)
https://www.youtube.com/watch?v=hGv86yyZbFM
https://www.youtube.com/watch?v=hGv86yyZbFM
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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Doc: Blue Note Records – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/12/doc-blue-note-records.html?utm_source=feedblitz
** Doc: Blue Note Records
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7f3ee08970b-popup
Blue Note Records was the first jazz label to fully grasp the potential of the LP era. When the 78 began to give way to the 10-inch album in 1948, co-founders Alfred Lion and Francis Wolff immediately understood the value of modern jazz, the efficiency of magnetic tape and the marketing potential of album covers. Immigrants from Berlin, they were comfortable with change and knew that embracing new ways of doing things presented opportunities, provided you rigidly followed a proven formula for success.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08980c5a970d-popup
In the 12-inch LP era starting in 1955, Lion and Wolff (above) pioneered the six-song album that featured at least two standards, they turned all matters of recording over to Rudy Van Gelder, an equally eccentric jazz fan who was passionate about sound and recreating the depth and warmth of how the music sounded in the studio. The music recorded for Blue Note in the 1950s and ’60s was always dramatic while the covers by Wolf and then Reid Miles delivered a nocturnal, cool mystique. As jazz styles changed in reaction to their times, the label became the chief incubator of hard bop, funk and jazz boogaloo.
Here’s (https://www.youtube.com/watch?v=b20SGyhLuSc) Blue Note: A Story of Modern Jazz, a 1997 documentary on the label directed by Julian Benedikt and Andreas Morell. You’ll find the DVD here (http://www.amazon.com/Blue-Note-Story-Modern-Jazz/dp/B0012K53U4) .
A special thanks to Tom Fine.
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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Doc: Blue Note Records – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/12/doc-blue-note-records.html?utm_source=feedblitz
** Doc: Blue Note Records
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7f3ee08970b-popup
Blue Note Records was the first jazz label to fully grasp the potential of the LP era. When the 78 began to give way to the 10-inch album in 1948, co-founders Alfred Lion and Francis Wolff immediately understood the value of modern jazz, the efficiency of magnetic tape and the marketing potential of album covers. Immigrants from Berlin, they were comfortable with change and knew that embracing new ways of doing things presented opportunities, provided you rigidly followed a proven formula for success.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08980c5a970d-popup
In the 12-inch LP era starting in 1955, Lion and Wolff (above) pioneered the six-song album that featured at least two standards, they turned all matters of recording over to Rudy Van Gelder, an equally eccentric jazz fan who was passionate about sound and recreating the depth and warmth of how the music sounded in the studio. The music recorded for Blue Note in the 1950s and ’60s was always dramatic while the covers by Wolf and then Reid Miles delivered a nocturnal, cool mystique. As jazz styles changed in reaction to their times, the label became the chief incubator of hard bop, funk and jazz boogaloo.
Here’s (https://www.youtube.com/watch?v=b20SGyhLuSc) Blue Note: A Story of Modern Jazz, a 1997 documentary on the label directed by Julian Benedikt and Andreas Morell. You’ll find the DVD here (http://www.amazon.com/Blue-Note-Story-Modern-Jazz/dp/B0012K53U4) .
A special thanks to Tom Fine.
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
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Warwick, Ny 10990
USA
Doc: Blue Note Records – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/12/doc-blue-note-records.html?utm_source=feedblitz
** Doc: Blue Note Records
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7f3ee08970b-popup
Blue Note Records was the first jazz label to fully grasp the potential of the LP era. When the 78 began to give way to the 10-inch album in 1948, co-founders Alfred Lion and Francis Wolff immediately understood the value of modern jazz, the efficiency of magnetic tape and the marketing potential of album covers. Immigrants from Berlin, they were comfortable with change and knew that embracing new ways of doing things presented opportunities, provided you rigidly followed a proven formula for success.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08980c5a970d-popup
In the 12-inch LP era starting in 1955, Lion and Wolff (above) pioneered the six-song album that featured at least two standards, they turned all matters of recording over to Rudy Van Gelder, an equally eccentric jazz fan who was passionate about sound and recreating the depth and warmth of how the music sounded in the studio. The music recorded for Blue Note in the 1950s and ’60s was always dramatic while the covers by Wolf and then Reid Miles delivered a nocturnal, cool mystique. As jazz styles changed in reaction to their times, the label became the chief incubator of hard bop, funk and jazz boogaloo.
Here’s (https://www.youtube.com/watch?v=b20SGyhLuSc) Blue Note: A Story of Modern Jazz, a 1997 documentary on the label directed by Julian Benedikt and Andreas Morell. You’ll find the DVD here (http://www.amazon.com/Blue-Note-Story-Modern-Jazz/dp/B0012K53U4) .
A special thanks to Tom Fine.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Doc: Blue Note Records – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/12/doc-blue-note-records.html?utm_source=feedblitz
** Doc: Blue Note Records
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7f3ee08970b-popup
Blue Note Records was the first jazz label to fully grasp the potential of the LP era. When the 78 began to give way to the 10-inch album in 1948, co-founders Alfred Lion and Francis Wolff immediately understood the value of modern jazz, the efficiency of magnetic tape and the marketing potential of album covers. Immigrants from Berlin, they were comfortable with change and knew that embracing new ways of doing things presented opportunities, provided you rigidly followed a proven formula for success.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08980c5a970d-popup
In the 12-inch LP era starting in 1955, Lion and Wolff (above) pioneered the six-song album that featured at least two standards, they turned all matters of recording over to Rudy Van Gelder, an equally eccentric jazz fan who was passionate about sound and recreating the depth and warmth of how the music sounded in the studio. The music recorded for Blue Note in the 1950s and ’60s was always dramatic while the covers by Wolf and then Reid Miles delivered a nocturnal, cool mystique. As jazz styles changed in reaction to their times, the label became the chief incubator of hard bop, funk and jazz boogaloo.
Here’s (https://www.youtube.com/watch?v=b20SGyhLuSc) Blue Note: A Story of Modern Jazz, a 1997 documentary on the label directed by Julian Benedikt and Andreas Morell. You’ll find the DVD here (http://www.amazon.com/Blue-Note-Story-Modern-Jazz/dp/B0012K53U4) .
A special thanks to Tom Fine.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/02/movies/review-sound-of-redemption-traces-frank-morgans-route-from-jazz-musician-to-prisoner-and-back.html?emc=edit_tnt_20151201
** Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back
————————————————————
By KEN JAWOROWSKIDEC. 1, 2015
Frank Morgan performing in 1992, in “Sound of Redemption.” James Gudeman/Green Garnet Productions LLC
In the 1950s, some jazz musicians believed they couldn’t get that Charlie Parker “happy-sad feeling without using drugs.” So says a friend of the saxophonist Frank Morgan (http://www.npr.org/2011/07/01/15126693/frank-morgan-on-piano-jazz) in “Sound of Redemption (http://www.thefrankmorganproject.com/) ,” a documentary that revels in the happy despite some seriously sad events.
Mr. Morgan was born into music. His father was a professional musician who used to play his guitar while pressing it against the belly of his pregnant wife, and later played by his son’s crib. Mr. Morgan was an accomplished saxophonist by the time he was a teenager; it’s said that when he performed with Billie Holiday, his music made her cry.
His renown grew, as did an addiction to heroin. His drug habit was soon financed by crime, and for some 30 years he was in and out of prison. After his last stint, he was released and went on to record some of his finest work.
The film, directed by N.C. Heikin, traces Mr. Morgan’s career with beautiful black-and-white photographs and newsreels. Those scenes are intertwined with segments from a 2012 tribute (http://www.nytimes.com/2012/06/06/arts/music/michael-connelly-wants-to-make-a-film-about-frank-morgan.html?_r=2) concert at San Quentin prison in California, five years after his death (http://www.nytimes.com/2007/12/19/arts/19morgan.html) .
“Sound of Redemption,” subtitled “The Frank Morgan (http://movies.nytimes.com/person/50579/Frank-Morgan?inline=nyt-per) Story,” isn’t a hard-hitting exploration. Though Mr. Morgan’s grittier side is outlined, it’s not deeply investigated. (When a former wife says that the only way to love Frank Morgan was to “live in a state of exasperation,” you long to hear more about their marriage, and his demons.) Instead, it’s a fond and forgiving tribute to the man, filled with music that moves beyond happy and sad, and toward something like brilliance.
“Sound of Redemption: The Frank Morgan Story” is not rated. Running time: 1 hour 24 minutes.
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
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Warwick, Ny 10990
USA
Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/02/movies/review-sound-of-redemption-traces-frank-morgans-route-from-jazz-musician-to-prisoner-and-back.html?emc=edit_tnt_20151201
** Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back
————————————————————
By KEN JAWOROWSKIDEC. 1, 2015
Frank Morgan performing in 1992, in “Sound of Redemption.” James Gudeman/Green Garnet Productions LLC
In the 1950s, some jazz musicians believed they couldn’t get that Charlie Parker “happy-sad feeling without using drugs.” So says a friend of the saxophonist Frank Morgan (http://www.npr.org/2011/07/01/15126693/frank-morgan-on-piano-jazz) in “Sound of Redemption (http://www.thefrankmorganproject.com/) ,” a documentary that revels in the happy despite some seriously sad events.
Mr. Morgan was born into music. His father was a professional musician who used to play his guitar while pressing it against the belly of his pregnant wife, and later played by his son’s crib. Mr. Morgan was an accomplished saxophonist by the time he was a teenager; it’s said that when he performed with Billie Holiday, his music made her cry.
His renown grew, as did an addiction to heroin. His drug habit was soon financed by crime, and for some 30 years he was in and out of prison. After his last stint, he was released and went on to record some of his finest work.
The film, directed by N.C. Heikin, traces Mr. Morgan’s career with beautiful black-and-white photographs and newsreels. Those scenes are intertwined with segments from a 2012 tribute (http://www.nytimes.com/2012/06/06/arts/music/michael-connelly-wants-to-make-a-film-about-frank-morgan.html?_r=2) concert at San Quentin prison in California, five years after his death (http://www.nytimes.com/2007/12/19/arts/19morgan.html) .
“Sound of Redemption,” subtitled “The Frank Morgan (http://movies.nytimes.com/person/50579/Frank-Morgan?inline=nyt-per) Story,” isn’t a hard-hitting exploration. Though Mr. Morgan’s grittier side is outlined, it’s not deeply investigated. (When a former wife says that the only way to love Frank Morgan was to “live in a state of exasperation,” you long to hear more about their marriage, and his demons.) Instead, it’s a fond and forgiving tribute to the man, filled with music that moves beyond happy and sad, and toward something like brilliance.
“Sound of Redemption: The Frank Morgan Story” is not rated. Running time: 1 hour 24 minutes.
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=1fbc6fc027) | 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=1fbc6fc027&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/02/movies/review-sound-of-redemption-traces-frank-morgans-route-from-jazz-musician-to-prisoner-and-back.html?emc=edit_tnt_20151201
** Review: ‘Sound of Redemption’ Traces Frank Morgan’s Route From Jazz Musician to Prisoner and Back
————————————————————
By KEN JAWOROWSKIDEC. 1, 2015
Frank Morgan performing in 1992, in “Sound of Redemption.” James Gudeman/Green Garnet Productions LLC
In the 1950s, some jazz musicians believed they couldn’t get that Charlie Parker “happy-sad feeling without using drugs.” So says a friend of the saxophonist Frank Morgan (http://www.npr.org/2011/07/01/15126693/frank-morgan-on-piano-jazz) in “Sound of Redemption (http://www.thefrankmorganproject.com/) ,” a documentary that revels in the happy despite some seriously sad events.
Mr. Morgan was born into music. His father was a professional musician who used to play his guitar while pressing it against the belly of his pregnant wife, and later played by his son’s crib. Mr. Morgan was an accomplished saxophonist by the time he was a teenager; it’s said that when he performed with Billie Holiday, his music made her cry.
His renown grew, as did an addiction to heroin. His drug habit was soon financed by crime, and for some 30 years he was in and out of prison. After his last stint, he was released and went on to record some of his finest work.
The film, directed by N.C. Heikin, traces Mr. Morgan’s career with beautiful black-and-white photographs and newsreels. Those scenes are intertwined with segments from a 2012 tribute (http://www.nytimes.com/2012/06/06/arts/music/michael-connelly-wants-to-make-a-film-about-frank-morgan.html?_r=2) concert at San Quentin prison in California, five years after his death (http://www.nytimes.com/2007/12/19/arts/19morgan.html) .
“Sound of Redemption,” subtitled “The Frank Morgan (http://movies.nytimes.com/person/50579/Frank-Morgan?inline=nyt-per) Story,” isn’t a hard-hitting exploration. Though Mr. Morgan’s grittier side is outlined, it’s not deeply investigated. (When a former wife says that the only way to love Frank Morgan was to “live in a state of exasperation,” you long to hear more about their marriage, and his demons.) Instead, it’s a fond and forgiving tribute to the man, filled with music that moves beyond happy and sad, and toward something like brilliance.
“Sound of Redemption: The Frank Morgan Story” is not rated. Running time: 1 hour 24 minutes.
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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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1fbc6fc027) | 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=1fbc6fc027&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Mack McCormick, Student of Texas Blues, Dies at 85 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/26/arts/music/mack-mccormick-student-of-texas-blues-dies-at-85.html?_r=0
** Mack McCormick, Student of Texas Blues, Dies at 85
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) NOV. 25, 2015
Mack McCormick in an undated photo.
Mack McCormick, a folklorist who spent a lifetime searching out forgotten or unrecorded blues singers all over Texas, helped revive the career of Lightning Hopkins and unearthed a trove of historical material on hundreds of blues singers, including Blind Lemon Jefferson and Lead Belly, died on Nov. 18 at his home in Houston. He was 85.
The cause was complications of cancer of the esophagus, Susannah Nix, his daughter, said.
Mr. McCormick found his calling as a music researcher in 1946 on a trip to New Orleans, where he fell into conversation with Orin Blackstone, a record store owner who was compiling a four-volume discography, “Index to Jazz.” On the spot, Mr. Blackstone recruited his young visitor to be the Texas editor of the index’s final two volumes, and sent him forth to hunt down old records.
As a teenager in Ohio, Mack had haunted carnivals and local burlesque shows, taking notes on comedy skits. His interest in vernacular culture in all forms easily transferred to music. As his focus turned to the blues in the 1950s, he talked to people on the street, followed leads, made shrewd guesses and, traveling countless miles on local roads, crisscrossing nearly 900 counties across the country, made discovery after discovery, accumulating material that grew into an archive he called the “monster.”
Chris Strachwitz, Lightnin’ Hopkins, Long Gone Miles and an unidentified man in Houston in 1959. Mack McCormick
He found and interviewed relatives of Blind Lemon Jefferson, talked to acquaintances who knew Lead Belly before he came to New York in the 1930s and tracked down two of Robert Johnson’s half-sisters, who gave him previously unknown photographs of the most celebrated and mysterious Delta blues singer of all time.
He located Mance Lipscomb, a blues singer from the 1920s working as a sharecropper in Navasota, Tex., and persuaded Chris Strachwitz, who had just founded Arhoolie records, to record him for the first time.
After seeking out Mr. Hopkins in Houston in 1959, he brought him to the recording studio to make “Autobiography in Blues,” an album that put him at the center of the folk music revival.
“Mack set out to live his life on his own terms with all the passion of someone who has made a vocation of his avocation,” the music historian Peter Guralnick told Texas Monthly (http://www.texasmonthly.com/articles/mack-mccormick-still-has-the-blues/Texas) in 2002. “He pursued it in territories where there were no maps and no rules.”
Robert Burton McCormick was born on Aug. 3, 1930, in Pittsburgh. Both his parents, who divorced soon after he was born, were X-ray technicians. He grew up in Alabama, Colorado, West Virginia and Texas, as his mother, who raised him, traveled looking for work.
A jazz buff, he worked as a teenager in a ballroom in Cedar Point, Ohio, running errands for Buddy Rich, Stan Kenton and other musicians in town to play a local radio show that was broadcast nationally.
Over the years, Mr. McCormick, who did not finish high school, worked a variety of jobs: electrician on a barge, short-order cook, carnival worker, taxi driver. In 1949, living in Houston, he became Down Beat magazine’s Texas correspondent. Along the way he kept his ears open and took notes on local customs and rituals, games, tall tales, dances, songs.
“In each job, I found myself intrigued by the virtually unknown, unexplored body of lore that characterizes a working group,” he told Texas Monthly.
In addition to his daughter, he is survived by a granddaughter.
Blind Lemon Jefferson, one of the bluesmen Mr. McCormick pursued in his research. GAB Archive/Redferns
In 1960 Mr. McCormick signed on with the Census Bureau, asking to be assigned to Houston’s Fourth Ward, a black neighborhood. With a foot in every door, he found his way to an entire population of professional pianists who played “Santa Fe style,” a local variant of the roadhouse style known as “fast western piano.” The name came from the Santa Fe Railroad, whose tracks cut through the ward.
All of them, he found, could trace their musical roots to Peg Leg Will, a New Orleans native who used to play on the porch of Passante’s Italian grocery store in the early 1900s. He later recorded one of his finds on the album “Robert Shaw: Texas Barrelhouse Piano,” the first and only release from Almanac records, which he founded in 1965.
The folklorist Alan Lomax invited Mr. McCormick to bring a group of prison singers from Texas to the 1965 Newport Folk Festival, a creative idea vetoed by the attorney general of Texas. Mr. McCormick assembled a group of former convicts and, because they had never performed together, tried to get them on stage for a run-through. Bob Dylan, rehearsing with members of the Paul Butterfield Blues Band, refused to yield the stage.
“I was trying to tell Dylan, ‘We need the stage’,” Mr. McCormick told Texas Monthly. “He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened.”
Some music historians theorize that this episode gave rise to the apocryphal tale that Pete Seeger, incensed at Mr. Dylan’s use of electric guitars, attacked the cables with a fire ax.
In the early 1970s, Mr. McCormick became obsessed with an obscure artist from the 1920s, Henry Thomas, known as Ragtime Texas, whose music straddled the boundaries between the blues and older forms like reels, ragtime and gospel.
By visiting the towns mentioned in a railroad song of Thomas’s, “Railroadin’ Some,” and analyzing his accent, Mr. McCormick found his way to Upshur County, Thomas’s birthplace, and, interviewing people who had known him, put together a rich, evocative history of his life and times. It was included as the liner notes for “Henry Thomas: ‘Ragtime Texas,” a collection of Thomas’s 23 known recordings, released by Herwin records in 1974.
Mr. McCormick, who had bipolar disorder, often threw himself into projects with ferocious energy, only to abandon them. For years he collaborated with the British blues scholar Paul Oliver on an encyclopedic work, “The Texas Blues,” which was abandoned when the two had a falling-out. He tried his hand at playwriting, with little success.
Over time, the archive became a burden. “In 1958 when I began serious documentary recording and field research it was not my plan to acquire such a mountain,” he wrote in an open letter to the magazine “Blues Unlimited” in 1976.
For years, he followed the trail of Robert Johnson, planning to write a definitive account of his life, tentatively titled “The Biography of a Phantom.” He began to have doubts about his own evidence. The book never materialized.
“Da Vinci never finished his paintings,” he told The Houston Press (http://www.houstonpress.com/news/the-collector-mack-mccormicks-huge-archive-of-culture-and-lore-6541660) in 2008. “He got bored by the time he got to the corners.”
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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Warwick, Ny 10990
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Mack McCormick, Student of Texas Blues, Dies at 85 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/26/arts/music/mack-mccormick-student-of-texas-blues-dies-at-85.html?_r=0
** Mack McCormick, Student of Texas Blues, Dies at 85
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) NOV. 25, 2015
Mack McCormick in an undated photo.
Mack McCormick, a folklorist who spent a lifetime searching out forgotten or unrecorded blues singers all over Texas, helped revive the career of Lightning Hopkins and unearthed a trove of historical material on hundreds of blues singers, including Blind Lemon Jefferson and Lead Belly, died on Nov. 18 at his home in Houston. He was 85.
The cause was complications of cancer of the esophagus, Susannah Nix, his daughter, said.
Mr. McCormick found his calling as a music researcher in 1946 on a trip to New Orleans, where he fell into conversation with Orin Blackstone, a record store owner who was compiling a four-volume discography, “Index to Jazz.” On the spot, Mr. Blackstone recruited his young visitor to be the Texas editor of the index’s final two volumes, and sent him forth to hunt down old records.
As a teenager in Ohio, Mack had haunted carnivals and local burlesque shows, taking notes on comedy skits. His interest in vernacular culture in all forms easily transferred to music. As his focus turned to the blues in the 1950s, he talked to people on the street, followed leads, made shrewd guesses and, traveling countless miles on local roads, crisscrossing nearly 900 counties across the country, made discovery after discovery, accumulating material that grew into an archive he called the “monster.”
Chris Strachwitz, Lightnin’ Hopkins, Long Gone Miles and an unidentified man in Houston in 1959. Mack McCormick
He found and interviewed relatives of Blind Lemon Jefferson, talked to acquaintances who knew Lead Belly before he came to New York in the 1930s and tracked down two of Robert Johnson’s half-sisters, who gave him previously unknown photographs of the most celebrated and mysterious Delta blues singer of all time.
He located Mance Lipscomb, a blues singer from the 1920s working as a sharecropper in Navasota, Tex., and persuaded Chris Strachwitz, who had just founded Arhoolie records, to record him for the first time.
After seeking out Mr. Hopkins in Houston in 1959, he brought him to the recording studio to make “Autobiography in Blues,” an album that put him at the center of the folk music revival.
“Mack set out to live his life on his own terms with all the passion of someone who has made a vocation of his avocation,” the music historian Peter Guralnick told Texas Monthly (http://www.texasmonthly.com/articles/mack-mccormick-still-has-the-blues/Texas) in 2002. “He pursued it in territories where there were no maps and no rules.”
Robert Burton McCormick was born on Aug. 3, 1930, in Pittsburgh. Both his parents, who divorced soon after he was born, were X-ray technicians. He grew up in Alabama, Colorado, West Virginia and Texas, as his mother, who raised him, traveled looking for work.
A jazz buff, he worked as a teenager in a ballroom in Cedar Point, Ohio, running errands for Buddy Rich, Stan Kenton and other musicians in town to play a local radio show that was broadcast nationally.
Over the years, Mr. McCormick, who did not finish high school, worked a variety of jobs: electrician on a barge, short-order cook, carnival worker, taxi driver. In 1949, living in Houston, he became Down Beat magazine’s Texas correspondent. Along the way he kept his ears open and took notes on local customs and rituals, games, tall tales, dances, songs.
“In each job, I found myself intrigued by the virtually unknown, unexplored body of lore that characterizes a working group,” he told Texas Monthly.
In addition to his daughter, he is survived by a granddaughter.
Blind Lemon Jefferson, one of the bluesmen Mr. McCormick pursued in his research. GAB Archive/Redferns
In 1960 Mr. McCormick signed on with the Census Bureau, asking to be assigned to Houston’s Fourth Ward, a black neighborhood. With a foot in every door, he found his way to an entire population of professional pianists who played “Santa Fe style,” a local variant of the roadhouse style known as “fast western piano.” The name came from the Santa Fe Railroad, whose tracks cut through the ward.
All of them, he found, could trace their musical roots to Peg Leg Will, a New Orleans native who used to play on the porch of Passante’s Italian grocery store in the early 1900s. He later recorded one of his finds on the album “Robert Shaw: Texas Barrelhouse Piano,” the first and only release from Almanac records, which he founded in 1965.
The folklorist Alan Lomax invited Mr. McCormick to bring a group of prison singers from Texas to the 1965 Newport Folk Festival, a creative idea vetoed by the attorney general of Texas. Mr. McCormick assembled a group of former convicts and, because they had never performed together, tried to get them on stage for a run-through. Bob Dylan, rehearsing with members of the Paul Butterfield Blues Band, refused to yield the stage.
“I was trying to tell Dylan, ‘We need the stage’,” Mr. McCormick told Texas Monthly. “He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened.”
Some music historians theorize that this episode gave rise to the apocryphal tale that Pete Seeger, incensed at Mr. Dylan’s use of electric guitars, attacked the cables with a fire ax.
In the early 1970s, Mr. McCormick became obsessed with an obscure artist from the 1920s, Henry Thomas, known as Ragtime Texas, whose music straddled the boundaries between the blues and older forms like reels, ragtime and gospel.
By visiting the towns mentioned in a railroad song of Thomas’s, “Railroadin’ Some,” and analyzing his accent, Mr. McCormick found his way to Upshur County, Thomas’s birthplace, and, interviewing people who had known him, put together a rich, evocative history of his life and times. It was included as the liner notes for “Henry Thomas: ‘Ragtime Texas,” a collection of Thomas’s 23 known recordings, released by Herwin records in 1974.
Mr. McCormick, who had bipolar disorder, often threw himself into projects with ferocious energy, only to abandon them. For years he collaborated with the British blues scholar Paul Oliver on an encyclopedic work, “The Texas Blues,” which was abandoned when the two had a falling-out. He tried his hand at playwriting, with little success.
Over time, the archive became a burden. “In 1958 when I began serious documentary recording and field research it was not my plan to acquire such a mountain,” he wrote in an open letter to the magazine “Blues Unlimited” in 1976.
For years, he followed the trail of Robert Johnson, planning to write a definitive account of his life, tentatively titled “The Biography of a Phantom.” He began to have doubts about his own evidence. The book never materialized.
“Da Vinci never finished his paintings,” he told The Houston Press (http://www.houstonpress.com/news/the-collector-mack-mccormicks-huge-archive-of-culture-and-lore-6541660) in 2008. “He got bored by the time he got to the corners.”
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=ed29996c35) | 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=ed29996c35&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
Mack McCormick, Student of Texas Blues, Dies at 85 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/26/arts/music/mack-mccormick-student-of-texas-blues-dies-at-85.html?_r=0
** Mack McCormick, Student of Texas Blues, Dies at 85
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) NOV. 25, 2015
Mack McCormick in an undated photo.
Mack McCormick, a folklorist who spent a lifetime searching out forgotten or unrecorded blues singers all over Texas, helped revive the career of Lightning Hopkins and unearthed a trove of historical material on hundreds of blues singers, including Blind Lemon Jefferson and Lead Belly, died on Nov. 18 at his home in Houston. He was 85.
The cause was complications of cancer of the esophagus, Susannah Nix, his daughter, said.
Mr. McCormick found his calling as a music researcher in 1946 on a trip to New Orleans, where he fell into conversation with Orin Blackstone, a record store owner who was compiling a four-volume discography, “Index to Jazz.” On the spot, Mr. Blackstone recruited his young visitor to be the Texas editor of the index’s final two volumes, and sent him forth to hunt down old records.
As a teenager in Ohio, Mack had haunted carnivals and local burlesque shows, taking notes on comedy skits. His interest in vernacular culture in all forms easily transferred to music. As his focus turned to the blues in the 1950s, he talked to people on the street, followed leads, made shrewd guesses and, traveling countless miles on local roads, crisscrossing nearly 900 counties across the country, made discovery after discovery, accumulating material that grew into an archive he called the “monster.”
Chris Strachwitz, Lightnin’ Hopkins, Long Gone Miles and an unidentified man in Houston in 1959. Mack McCormick
He found and interviewed relatives of Blind Lemon Jefferson, talked to acquaintances who knew Lead Belly before he came to New York in the 1930s and tracked down two of Robert Johnson’s half-sisters, who gave him previously unknown photographs of the most celebrated and mysterious Delta blues singer of all time.
He located Mance Lipscomb, a blues singer from the 1920s working as a sharecropper in Navasota, Tex., and persuaded Chris Strachwitz, who had just founded Arhoolie records, to record him for the first time.
After seeking out Mr. Hopkins in Houston in 1959, he brought him to the recording studio to make “Autobiography in Blues,” an album that put him at the center of the folk music revival.
“Mack set out to live his life on his own terms with all the passion of someone who has made a vocation of his avocation,” the music historian Peter Guralnick told Texas Monthly (http://www.texasmonthly.com/articles/mack-mccormick-still-has-the-blues/Texas) in 2002. “He pursued it in territories where there were no maps and no rules.”
Robert Burton McCormick was born on Aug. 3, 1930, in Pittsburgh. Both his parents, who divorced soon after he was born, were X-ray technicians. He grew up in Alabama, Colorado, West Virginia and Texas, as his mother, who raised him, traveled looking for work.
A jazz buff, he worked as a teenager in a ballroom in Cedar Point, Ohio, running errands for Buddy Rich, Stan Kenton and other musicians in town to play a local radio show that was broadcast nationally.
Over the years, Mr. McCormick, who did not finish high school, worked a variety of jobs: electrician on a barge, short-order cook, carnival worker, taxi driver. In 1949, living in Houston, he became Down Beat magazine’s Texas correspondent. Along the way he kept his ears open and took notes on local customs and rituals, games, tall tales, dances, songs.
“In each job, I found myself intrigued by the virtually unknown, unexplored body of lore that characterizes a working group,” he told Texas Monthly.
In addition to his daughter, he is survived by a granddaughter.
Blind Lemon Jefferson, one of the bluesmen Mr. McCormick pursued in his research. GAB Archive/Redferns
In 1960 Mr. McCormick signed on with the Census Bureau, asking to be assigned to Houston’s Fourth Ward, a black neighborhood. With a foot in every door, he found his way to an entire population of professional pianists who played “Santa Fe style,” a local variant of the roadhouse style known as “fast western piano.” The name came from the Santa Fe Railroad, whose tracks cut through the ward.
All of them, he found, could trace their musical roots to Peg Leg Will, a New Orleans native who used to play on the porch of Passante’s Italian grocery store in the early 1900s. He later recorded one of his finds on the album “Robert Shaw: Texas Barrelhouse Piano,” the first and only release from Almanac records, which he founded in 1965.
The folklorist Alan Lomax invited Mr. McCormick to bring a group of prison singers from Texas to the 1965 Newport Folk Festival, a creative idea vetoed by the attorney general of Texas. Mr. McCormick assembled a group of former convicts and, because they had never performed together, tried to get them on stage for a run-through. Bob Dylan, rehearsing with members of the Paul Butterfield Blues Band, refused to yield the stage.
“I was trying to tell Dylan, ‘We need the stage’,” Mr. McCormick told Texas Monthly. “He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened.”
Some music historians theorize that this episode gave rise to the apocryphal tale that Pete Seeger, incensed at Mr. Dylan’s use of electric guitars, attacked the cables with a fire ax.
In the early 1970s, Mr. McCormick became obsessed with an obscure artist from the 1920s, Henry Thomas, known as Ragtime Texas, whose music straddled the boundaries between the blues and older forms like reels, ragtime and gospel.
By visiting the towns mentioned in a railroad song of Thomas’s, “Railroadin’ Some,” and analyzing his accent, Mr. McCormick found his way to Upshur County, Thomas’s birthplace, and, interviewing people who had known him, put together a rich, evocative history of his life and times. It was included as the liner notes for “Henry Thomas: ‘Ragtime Texas,” a collection of Thomas’s 23 known recordings, released by Herwin records in 1974.
Mr. McCormick, who had bipolar disorder, often threw himself into projects with ferocious energy, only to abandon them. For years he collaborated with the British blues scholar Paul Oliver on an encyclopedic work, “The Texas Blues,” which was abandoned when the two had a falling-out. He tried his hand at playwriting, with little success.
Over time, the archive became a burden. “In 1958 when I began serious documentary recording and field research it was not my plan to acquire such a mountain,” he wrote in an open letter to the magazine “Blues Unlimited” in 1976.
For years, he followed the trail of Robert Johnson, planning to write a definitive account of his life, tentatively titled “The Biography of a Phantom.” He began to have doubts about his own evidence. The book never materialized.
“Da Vinci never finished his paintings,” he told The Houston Press (http://www.houstonpress.com/news/the-collector-mack-mccormicks-huge-archive-of-culture-and-lore-6541660) in 2008. “He got bored by the time he got to the corners.”
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=ed29996c35) | 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=ed29996c35&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Impromptu Lush Life: Stomp Off in C…
http://www.jazzpromoservices.com/
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
Chris Albertson’s website:
** Stomp Off in C… (http://stomp-off.blogspot.com/)
————————————————————
————————————————————
Impromptu Lush Life. (http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html)
Posted: 29 Nov 2015 10:18 PM PST
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
It was a late January night a half century ago. Duke and his band were the star attraction at New York’s Basin Street East, but this is a moment with Billy Strayhorn. The MC is William B. Williams, then my co-worker at WNEW, and I should have gone there with him, as he suggested, but I must have had something better to do, although I doubt that. Not that I missed a great performance, but even when he sang flat, Billy Strayhorn managed to get his message across. Check it out (http://www.mediafire.com/listen/6rudk2uq2k628sn/Stray_does_Lushlife_at_Basin_St._East.mp3) .
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
Impromptu Lush Life: Stomp Off in C…
http://www.jazzpromoservices.com/
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
Chris Albertson’s website:
** Stomp Off in C… (http://stomp-off.blogspot.com/)
————————————————————
————————————————————
Impromptu Lush Life. (http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html)
Posted: 29 Nov 2015 10:18 PM PST
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
It was a late January night a half century ago. Duke and his band were the star attraction at New York’s Basin Street East, but this is a moment with Billy Strayhorn. The MC is William B. Williams, then my co-worker at WNEW, and I should have gone there with him, as he suggested, but I must have had something better to do, although I doubt that. Not that I missed a great performance, but even when he sang flat, Billy Strayhorn managed to get his message across. Check it out (http://www.mediafire.com/listen/6rudk2uq2k628sn/Stray_does_Lushlife_at_Basin_St._East.mp3) .
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=4bdf95f6a9) | 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=4bdf95f6a9&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
Impromptu Lush Life: Stomp Off in C…
http://www.jazzpromoservices.com/
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
Chris Albertson’s website:
** Stomp Off in C… (http://stomp-off.blogspot.com/)
————————————————————
————————————————————
Impromptu Lush Life. (http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html)
Posted: 29 Nov 2015 10:18 PM PST
http://stomp-off.blogspot.com/2015/11/impromptu-lush-life.html
It was a late January night a half century ago. Duke and his band were the star attraction at New York’s Basin Street East, but this is a moment with Billy Strayhorn. The MC is William B. Williams, then my co-worker at WNEW, and I should have gone there with him, as he suggested, but I must have had something better to do, although I doubt that. Not that I missed a great performance, but even when he sang flat, Billy Strayhorn managed to get his message across. Check it out (http://www.mediafire.com/listen/6rudk2uq2k628sn/Stray_does_Lushlife_at_Basin_St._East.mp3) .
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
Frank Sinatra in Hoboken: If I Can Make It There … – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/29/opinion/sunday/frank-sinatra-in-hoboken-if-i-can-make-it-there.html?partner=rssnyt
** Frank Sinatra in Hoboken: If I Can Make It There …
————————————————————
By FRANCIS X. CLINES (http://topics.nytimes.com/top/reference/timestopics/people/c/francis_x_clines/index.html) NOV. 28, 2015
Frank Sinatra in Las Vegas, 1960. Bob Willoughby/Redferns, via Getty Images
HOBOKEN, N.J. — “How did all these people get into my room?” Frank Sinatra happily shouted in 1966, as he arrived before a cheering crowd and a swinging band eager for his concert at the Sands Hotel in Las Vegas. Backed by the Count Basie Orchestra, Sinatra recorded a virtuoso album that graying Sinatra fans still listen to for a whiff of life’s sheer exuberance and drive.
Here in Hoboken, where Sinatra was born, it is eerie to hear what seems an antique scrap of that same Sinatra insouciance at the Hoboken Historical Museum, where the city, along with considerable parts of the world, has been celebrating the singer’s 100th birthday, which is on Dec. 12. The voice that will become The Voice intrudes at the close of a scratchy recording made some eight decades ago by the Hoboken Four, Sinatra’s earliest group, which found success in local gin mills. “We’re looking for jobs — how about it?” is suddenly heard in Sinatra’s cocky cadence.
Mr. Sinatra, right, with the Hoboken Four, on ‘The Amateur Hour ‘ radio show hosted by Edward “Major” Bowes, center. Circa 1935. CBS Photo Archive/Getty Images
The rest is history, of show business jobs and gold albums, an Oscar and celebrity romance. Just eastward across the Hudson River, the centenary celebration of Sinatra, who died in 1998, is in the priestly hands of Jonathan Schwartz. For decades, Mr. Schwartz has been Sinatra’s Boswell, the champion of his singing, the resident scholar of the American Songbook who ceaselessly talks and plays Sinatra on his radio shows (http://www.wnyc.org/shows/jonathan-schwartz/) . A rich array of celebration is underway by radio and web stream, with Mr. Schwartz playing and chatting with assorted experts and fans. They variously concede Sinatra’s shortcomings, splashed across the tabloids, but they cherish his pioneering pressure for racial fairness in show business. And, above all, they cherish his special gift for phrasing a song, exemplified pristinely “In the Wee Small Hours of the Morning.”
The Hoboken museum is offering somewhat more homespun tributes, including the eyewitness reminiscences of Rose Cafasso, a local resident and original Sinatra bobby-soxer who at the age of 94 tells of journeying by bus to his stage show at the Paramount in Times Square. “For 35 cents, we saw Frank, the greatest singer in the world, and had a movie,” Ms. Cafasso recounts with girlish affection. “I even went to his grave six years ago in Palm Springs.”
Hoboken celebrated Sinatra Day on Oct. 30, 1947, with the singing idol riding in a fire truck with his father, Capt. Martin Sinatra of Engine Company 5. Leonard Detrick/NY Daily News Archive, via Getty Images
Sinatra’s power across the generations was well documented on the album “Duets,” one of his last before his death, a magnet for an array of the best modern pop singers, all eager to be recorded with him. “I’ve got you under my skin … so deep in my heart you’re really a part of me,” Bono croons on the album in what seems a confessional thank-you (https://www.youtube.com/watch?v=l_MkfaV2rJY) for lessons from a maestro. At the museum, a film shows local male finalists of assorted shapes and singing talent competing in the city’s annual Sinatra Idol Contest. With snap-brim fedoras, they try to ape his gentle stage gestures and ring-a-ding appeal. But Hoboken remains a long way from Vegas.
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=85ea39036d) | 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=85ea39036d&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
Frank Sinatra in Hoboken: If I Can Make It There … – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/29/opinion/sunday/frank-sinatra-in-hoboken-if-i-can-make-it-there.html?partner=rssnyt
** Frank Sinatra in Hoboken: If I Can Make It There …
————————————————————
By FRANCIS X. CLINES (http://topics.nytimes.com/top/reference/timestopics/people/c/francis_x_clines/index.html) NOV. 28, 2015
Frank Sinatra in Las Vegas, 1960. Bob Willoughby/Redferns, via Getty Images
HOBOKEN, N.J. — “How did all these people get into my room?” Frank Sinatra happily shouted in 1966, as he arrived before a cheering crowd and a swinging band eager for his concert at the Sands Hotel in Las Vegas. Backed by the Count Basie Orchestra, Sinatra recorded a virtuoso album that graying Sinatra fans still listen to for a whiff of life’s sheer exuberance and drive.
Here in Hoboken, where Sinatra was born, it is eerie to hear what seems an antique scrap of that same Sinatra insouciance at the Hoboken Historical Museum, where the city, along with considerable parts of the world, has been celebrating the singer’s 100th birthday, which is on Dec. 12. The voice that will become The Voice intrudes at the close of a scratchy recording made some eight decades ago by the Hoboken Four, Sinatra’s earliest group, which found success in local gin mills. “We’re looking for jobs — how about it?” is suddenly heard in Sinatra’s cocky cadence.
Mr. Sinatra, right, with the Hoboken Four, on ‘The Amateur Hour ‘ radio show hosted by Edward “Major” Bowes, center. Circa 1935. CBS Photo Archive/Getty Images
The rest is history, of show business jobs and gold albums, an Oscar and celebrity romance. Just eastward across the Hudson River, the centenary celebration of Sinatra, who died in 1998, is in the priestly hands of Jonathan Schwartz. For decades, Mr. Schwartz has been Sinatra’s Boswell, the champion of his singing, the resident scholar of the American Songbook who ceaselessly talks and plays Sinatra on his radio shows (http://www.wnyc.org/shows/jonathan-schwartz/) . A rich array of celebration is underway by radio and web stream, with Mr. Schwartz playing and chatting with assorted experts and fans. They variously concede Sinatra’s shortcomings, splashed across the tabloids, but they cherish his pioneering pressure for racial fairness in show business. And, above all, they cherish his special gift for phrasing a song, exemplified pristinely “In the Wee Small Hours of the Morning.”
The Hoboken museum is offering somewhat more homespun tributes, including the eyewitness reminiscences of Rose Cafasso, a local resident and original Sinatra bobby-soxer who at the age of 94 tells of journeying by bus to his stage show at the Paramount in Times Square. “For 35 cents, we saw Frank, the greatest singer in the world, and had a movie,” Ms. Cafasso recounts with girlish affection. “I even went to his grave six years ago in Palm Springs.”
Hoboken celebrated Sinatra Day on Oct. 30, 1947, with the singing idol riding in a fire truck with his father, Capt. Martin Sinatra of Engine Company 5. Leonard Detrick/NY Daily News Archive, via Getty Images
Sinatra’s power across the generations was well documented on the album “Duets,” one of his last before his death, a magnet for an array of the best modern pop singers, all eager to be recorded with him. “I’ve got you under my skin … so deep in my heart you’re really a part of me,” Bono croons on the album in what seems a confessional thank-you (https://www.youtube.com/watch?v=l_MkfaV2rJY) for lessons from a maestro. At the museum, a film shows local male finalists of assorted shapes and singing talent competing in the city’s annual Sinatra Idol Contest. With snap-brim fedoras, they try to ape his gentle stage gestures and ring-a-ding appeal. But Hoboken remains a long way from Vegas.
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=85ea39036d) | 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=85ea39036d&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
Frank Sinatra in Hoboken: If I Can Make It There … – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/29/opinion/sunday/frank-sinatra-in-hoboken-if-i-can-make-it-there.html?partner=rssnyt
** Frank Sinatra in Hoboken: If I Can Make It There …
————————————————————
By FRANCIS X. CLINES (http://topics.nytimes.com/top/reference/timestopics/people/c/francis_x_clines/index.html) NOV. 28, 2015
Frank Sinatra in Las Vegas, 1960. Bob Willoughby/Redferns, via Getty Images
HOBOKEN, N.J. — “How did all these people get into my room?” Frank Sinatra happily shouted in 1966, as he arrived before a cheering crowd and a swinging band eager for his concert at the Sands Hotel in Las Vegas. Backed by the Count Basie Orchestra, Sinatra recorded a virtuoso album that graying Sinatra fans still listen to for a whiff of life’s sheer exuberance and drive.
Here in Hoboken, where Sinatra was born, it is eerie to hear what seems an antique scrap of that same Sinatra insouciance at the Hoboken Historical Museum, where the city, along with considerable parts of the world, has been celebrating the singer’s 100th birthday, which is on Dec. 12. The voice that will become The Voice intrudes at the close of a scratchy recording made some eight decades ago by the Hoboken Four, Sinatra’s earliest group, which found success in local gin mills. “We’re looking for jobs — how about it?” is suddenly heard in Sinatra’s cocky cadence.
Mr. Sinatra, right, with the Hoboken Four, on ‘The Amateur Hour ‘ radio show hosted by Edward “Major” Bowes, center. Circa 1935. CBS Photo Archive/Getty Images
The rest is history, of show business jobs and gold albums, an Oscar and celebrity romance. Just eastward across the Hudson River, the centenary celebration of Sinatra, who died in 1998, is in the priestly hands of Jonathan Schwartz. For decades, Mr. Schwartz has been Sinatra’s Boswell, the champion of his singing, the resident scholar of the American Songbook who ceaselessly talks and plays Sinatra on his radio shows (http://www.wnyc.org/shows/jonathan-schwartz/) . A rich array of celebration is underway by radio and web stream, with Mr. Schwartz playing and chatting with assorted experts and fans. They variously concede Sinatra’s shortcomings, splashed across the tabloids, but they cherish his pioneering pressure for racial fairness in show business. And, above all, they cherish his special gift for phrasing a song, exemplified pristinely “In the Wee Small Hours of the Morning.”
The Hoboken museum is offering somewhat more homespun tributes, including the eyewitness reminiscences of Rose Cafasso, a local resident and original Sinatra bobby-soxer who at the age of 94 tells of journeying by bus to his stage show at the Paramount in Times Square. “For 35 cents, we saw Frank, the greatest singer in the world, and had a movie,” Ms. Cafasso recounts with girlish affection. “I even went to his grave six years ago in Palm Springs.”
Hoboken celebrated Sinatra Day on Oct. 30, 1947, with the singing idol riding in a fire truck with his father, Capt. Martin Sinatra of Engine Company 5. Leonard Detrick/NY Daily News Archive, via Getty Images
Sinatra’s power across the generations was well documented on the album “Duets,” one of his last before his death, a magnet for an array of the best modern pop singers, all eager to be recorded with him. “I’ve got you under my skin … so deep in my heart you’re really a part of me,” Bono croons on the album in what seems a confessional thank-you (https://www.youtube.com/watch?v=l_MkfaV2rJY) for lessons from a maestro. At the museum, a film shows local male finalists of assorted shapes and singing talent competing in the city’s annual Sinatra Idol Contest. With snap-brim fedoras, they try to ape his gentle stage gestures and ring-a-ding appeal. But Hoboken remains a long way from Vegas.
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=85ea39036d) | 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=85ea39036d&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
Frank Sinatra in Hoboken: If I Can Make It There … – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/29/opinion/sunday/frank-sinatra-in-hoboken-if-i-can-make-it-there.html?partner=rssnyt
** Frank Sinatra in Hoboken: If I Can Make It There …
————————————————————
By FRANCIS X. CLINES (http://topics.nytimes.com/top/reference/timestopics/people/c/francis_x_clines/index.html) NOV. 28, 2015
Frank Sinatra in Las Vegas, 1960. Bob Willoughby/Redferns, via Getty Images
HOBOKEN, N.J. — “How did all these people get into my room?” Frank Sinatra happily shouted in 1966, as he arrived before a cheering crowd and a swinging band eager for his concert at the Sands Hotel in Las Vegas. Backed by the Count Basie Orchestra, Sinatra recorded a virtuoso album that graying Sinatra fans still listen to for a whiff of life’s sheer exuberance and drive.
Here in Hoboken, where Sinatra was born, it is eerie to hear what seems an antique scrap of that same Sinatra insouciance at the Hoboken Historical Museum, where the city, along with considerable parts of the world, has been celebrating the singer’s 100th birthday, which is on Dec. 12. The voice that will become The Voice intrudes at the close of a scratchy recording made some eight decades ago by the Hoboken Four, Sinatra’s earliest group, which found success in local gin mills. “We’re looking for jobs — how about it?” is suddenly heard in Sinatra’s cocky cadence.
Mr. Sinatra, right, with the Hoboken Four, on ‘The Amateur Hour ‘ radio show hosted by Edward “Major” Bowes, center. Circa 1935. CBS Photo Archive/Getty Images
The rest is history, of show business jobs and gold albums, an Oscar and celebrity romance. Just eastward across the Hudson River, the centenary celebration of Sinatra, who died in 1998, is in the priestly hands of Jonathan Schwartz. For decades, Mr. Schwartz has been Sinatra’s Boswell, the champion of his singing, the resident scholar of the American Songbook who ceaselessly talks and plays Sinatra on his radio shows (http://www.wnyc.org/shows/jonathan-schwartz/) . A rich array of celebration is underway by radio and web stream, with Mr. Schwartz playing and chatting with assorted experts and fans. They variously concede Sinatra’s shortcomings, splashed across the tabloids, but they cherish his pioneering pressure for racial fairness in show business. And, above all, they cherish his special gift for phrasing a song, exemplified pristinely “In the Wee Small Hours of the Morning.”
The Hoboken museum is offering somewhat more homespun tributes, including the eyewitness reminiscences of Rose Cafasso, a local resident and original Sinatra bobby-soxer who at the age of 94 tells of journeying by bus to his stage show at the Paramount in Times Square. “For 35 cents, we saw Frank, the greatest singer in the world, and had a movie,” Ms. Cafasso recounts with girlish affection. “I even went to his grave six years ago in Palm Springs.”
Hoboken celebrated Sinatra Day on Oct. 30, 1947, with the singing idol riding in a fire truck with his father, Capt. Martin Sinatra of Engine Company 5. Leonard Detrick/NY Daily News Archive, via Getty Images
Sinatra’s power across the generations was well documented on the album “Duets,” one of his last before his death, a magnet for an array of the best modern pop singers, all eager to be recorded with him. “I’ve got you under my skin … so deep in my heart you’re really a part of me,” Bono croons on the album in what seems a confessional thank-you (https://www.youtube.com/watch?v=l_MkfaV2rJY) for lessons from a maestro. At the museum, a film shows local male finalists of assorted shapes and singing talent competing in the city’s annual Sinatra Idol Contest. With snap-brim fedoras, they try to ape his gentle stage gestures and ring-a-ding appeal. But Hoboken remains a long way from Vegas.
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=85ea39036d) | 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=85ea39036d&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