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The Creative Conver
TWO PETERRAINMAKERS EDGETHE CREATIVE CONVERSATION s chief of RCA, Peter Edge has presided over one of the splashiest rosters in the biz, which has culminated in big chart successes, top-tier Grammy love and, occa- sionally, pop-cultural godhead for his acts. Edge’s keen A&R chops Aand artist whispering have been integral to his reign, and he has been acutely sensitive to the shifting winds of the marketplace. “I’m always looking for a unique propo- sition,” Edge said a decade and a half ago, and it clearly resonates today. “I’m really attracted to people who have an abundance of talent because I’m just in awe of that, being a music fan.” “Peter Edge loves music so much, it’s his heart and soul,” notes one of Edge’s Grammy-winning, chart-topping signings, Switch, where he booked artists such as Sade Khalid. “I’ve had such meaningful artistic and Grace Jones. His work there caught conversations with him, and I’m always in the eye of Simon Fuller, who hired him as awe of his knowledge and his passion.” an A&R rep at Chrysalis Music Publishing; “I have known and worked with Peter he subsequently moved to the label side at since I first started in this business,” says Chrysalis and was tasked with launching the manager Brandon Creed, “and he has London-based Cooltempo imprint in 1985, always been a very kind and soulful leader in tandem with producer Danny D. and personal mentor to me. His taste and In the U.K., the label would release talent are inspiring, and he’s as authen- music by Erik B and Rakim, EPMD, tic and genuine as an executive as he is a The Real Roxanne, Slick Rick and Doug human being.” E. -
SLINGERLAND a DRUMS Sommur!
has a Coleman Hawkins LP coming Jaki Byard quintet and big band... Strictly Ad Lib called Soul, with Hawk joined by Warren Covington’s Tommy Dorsey Kenny Burrell, Ray Bryant, Osie band may figure in a British band (Continued from page 8) Johnson, and Wendell Marshall. swap with a Cha-Cha-Cha band Bryant taught Hawk Greensleeves headed by Rico coming here . Wess . Willie (The Lion) Smith, for the date . Bob Corwin took Sidney Becht recovered from a re Sonny Terry, Zoot Sims, Sol Yaged, over the piano chair from Bill Trig cent illness. He had a bronchitis Candido, and Big Miller had guest lia with Anita O’Day . United attack in mid-fall . George Lewis Shots on the United Artists record Artists cut Martin Williams’ History is figuring in a possible swap for ing of the Living History of Jazz at of the Jazz Trumpet LP late in England, in conjunction with Lewis' the Apollo, with Herb Pomeroy’s December . Roy Haynes’ group, European tour this spring ... In band and narrator John McLellan. with Hank Mobley, Curtis Fuller, siders in the east point out that Symphony Sid reports he plans to Richard Wyandes, and Doug Wat Jack Lewis first cut Shorty Rogen take a septet to Europe in the spring kins, did a concert for the Orange and the early west coast sides, not for a Birdland tour, and hopes to County community college jazz club Bob York as carried in Los Angeles include Johnny Griffin, Lee Morgan, in mid-December. Ad Lib recently. Curtis Fuller, Pepper Adams, Tom Lou Donaldson signed with Blue Ed Thigpen is reported leaving my Flanagan, and Bud Powell . -
Alicia Keys Celebrates the Launch of Her New Book, More Myself: a Journey, in a Special Evening of Storytelling from Behind the Piano at BAM—Mar 31
Alicia Keys celebrates the launch of her new book, More Myself: A Journey, in a special evening of storytelling from behind the piano at BAM—Mar 31 First date of the More Myself Tour A part of Unbound, a book launch series co-presented by BAM and Greenlight Bookstore More Myself with Alicia Keys Co-presented by BAM and Greenlight Bookstore Launch of More Myself: A Journey Part of Unbound BAM Howard Gilman Opera House (30 Lafayette Ave) Mar 31 at 7:30pm Tickets start at $35 (all tickets include a pre-signed book) March 4, 2020/Brooklyn, NY— In celebration of the launch of her new book More Myself: A Journey, 15-time Grammy Award-winner and New York Times best-selling author Alicia Keys comes to BAM on March 31, the first night of her live storytelling and music series from the book, shared from behind the piano. Keys will kick off her More Myself Tour at BAM, in support of her new book, which will be published on the same date (March 31). As one of the most celebrated musicians in the world, Alicia Keys has captured audiences with her heartfelt lyrics, extraordinary vocal range, and soul-stirring piano compositions. Away from the spotlight, she privately grappled with heartache, her challenging and complex relationship with her father, her people-pleasing nature that characterized her early life and career, the loss of privacy, and the oppressive expectations of female perfection, some of which she put on herself. More of Myself is Alicia’s journey from childhood to now: at once a riveting account and a clarion call to readers to define themselves in a world that rarely encourages a true and unique identity. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
'Slow Drag' Pavageau
NEWSLETTER OCT-2016 ologyology Alcide ‘Slow Drag’ Pavageau G.H.B. JAZZ FOUNDATION • JAZZOLOGY RECORDS GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116 Phone: +1 (504) 525-5000 Office Manager: Lars Edegran Fax: +1 (504) 525-1776 Assistant: Mike Robeson Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Mike Layout & Design: David Stocker Robeson, David Stocker HOW TO ORDER COSTS – U.S. AND FOREIGN MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB Jazz Foundation. You will then receive your membership card by return mail or with your order. *Membership continues as long as you order at least one selection per year. You will also be able to buy our products at a special discounted price: CDs for $13.00 DVDs for $20.00 Books for $25.00 NON-MEMBERS For non-members our prices are: CDs for $15.98 DVDs for $25.00 Books for $30.00 DOMESTIC MAILING & POSTAGE CHARGES There is a flat rate of $3.00 regardless of the number of items ordered. OVERSEAS SHIPPING CHARGES 1 CD $13.00; 2-3 CDS $15.00; 4-6 CDS $20.00; 7-10 CDS $26.00 Canadian shipping charges are 50% of overseas charges ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH EITHER: • INTERNATIONAL MONEY ORDER • CHECK DRAWN IN U.S. DOLLARS FROM A U.S. -
Di Giorgio - Jeup Quartett
Di Giorgio - Jeup Quartett Agostino Di Giorgio: Guitar /Michael Jeup: Guitar/ Dominique Girod: Bass /Alberto Canonico: Drums A quartet featuring two guitarists, Agostino Di Giorgio and Michael Jeup, present music in the traditional jazz set- ting of the Be-bop Era in the style of Bud Powell, Tad Dameron and Hank Mobely. Along with Dominique Girod (bass) and Alberto Canonico (Drums) providing the „foundation“ - the setting is complete. With interwoven harmony, melo- dic clarity and a „chamber music“ quality the „Di Giorgio - Jeup Quartet“ provides a poetic portrait of the heritage of jazz as heard through the delicate sounds of the guitar. Agostino Di Giorgio (geb. 1966 in New York, NY) lives near Rome in Casino, Italy. He is a modern plectrum guiat- rist, closest pupil of jazz guitar innovator Chuck Wayne. (Who in the early 50’s played and recorded with George Shearing’s Quartet, Woody Herman, Tony Bennet and many others). Through Agostino’s close collaboration with Chuck Wayne, he helped co-write 3 volume series of the „School of Chuck Wayne“ guitar method (published by Second Floor Music). He played with the Chuck Wayne-Tom Butts Quintet from 1993-1994, and recorded a CD „Alberta Clipper“ with the group. In 1995 Agostino moved to Europe. He has worked as a side man with Massimo Urbani, Tony Scott, Tom Kirkpa- trick and many others. He also appeared in the „Copehagen Jazz Festival“ in 1997. As a leader he has recorded two CDs: „The Path“, in trio featuring pianist Kirk Lightsey , „AD2000“ , in quartet, and „Pulling Strings“, a duo session with Canadian Bassist Ron Seguin ( all with Fono Records). -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Chartsplus YE2003
? Platinum (600,000) ä Gold (400,000) 2002 è Silver (200,000) 2002 TITLE - Artist Label (Cat. No.) Entry Date High Wks 2002 TITLE - Artist Label (Cat. No.) Entry Date High Wks 3 1 ANYTHING IS POSSIBLE/EVERGREEN - Will Young ? 09/03/2002 13 39 51 WE'RE ON THE BALL - Ant & Dec 08/06/2002 3 25 ² S/RCA (74321926142) Columbia (6727312) 2 2 UNCHAINED MELODY - Gareth Gates ? 30/03/2002 14 35 52 WHEN YOU LOOK AT ME - Christina Milian 29/06/2002 3 16 ² S/RCA (74321930882) Def Soul (5829802) 3 HERO - Enrique Iglesias ? 02/02/2002 14 42 53 UNBREAKABLE - Westlife 09/11/2002 1 9 Interscope (IND97671) ² S/RCA (74321975182) 4 DILEMMA - Nelly featuring Kelly Rowland ? 26/10/2002 12 11 54 AIN'T IT FUNNY - Jennifer Lopez 23/03/2002 4 13 ² Universal (MCSTD40299) Epic (6724922) 5 A LITTLE LESS CONVERSATION - Elvis vs JXL ? 22/06/2002 14 21 55 LOVE AT FIRST SIGHT - Kylie Minogue 22/06/2002 2 20 ² RCA (74321943572) Parlophon e (CDRS6577) ä 3 6 ANYONE OF US (STUPID MISTAKE) - Gareth Gates 20/07/2002 1 17 56 MY SWEET LORD - George Harrison 26/01/2002 1 27 ² S/RCA (74321950602) Parlophone (CDR6571) ä 7 WHENEVER WHEREVER - Shakira 09/03/2002 2 26 57 CAUGHT IN THE MIDDLE - A1 02/02/2002 2 32 Epic (6724262) ² Columbia (6722322) 8 THE KETCHUP SONG (ASEREJE) - Las Ketchup 19/10/2002 1 12 58 LAZY - X-Press 2 featuring David Byrne 13/04/2002 2 20 ² Columbia (6731932) ² Skint (SKINT74CD) ä 9 JUST A LITTLE - Liberty X 25/05/2002 1 24 59 WHEREVER YOU WILL GO - The Calling 06/07/2002 3 13 ² V2 (VVR5018963) RCA (74321947652) ä è 10 WITHOUT ME - Eminem 01/06/2002 1 24 60 IN YOUR EYES - Kylie Minogue 02/03/2002 3 28 Interscope (4977282) ² Parlophone (CDR6569) ä 11 IF TOMORROW NEVER COMES - Ronan Keating 18/05/2002 1 29 61 FLY BY II - Blue 30/03/2002 6 14 ² Polydor (5707182) Innocent (SINCD33) ä 12 HOW YOU REMIND ME - Nickelback 09/03/2002 4 34 62 THE WORLD'S GREATEST - R. -
Chuck Wayne's Picking Style
CHUCK WAYNE’S PICKING STYLE approach that would result in a sound he felt was more by Lee Irwin elegant, clear, and individualized than could be pro- duced by any other method—a sound that would be ne of the magical things about the guitar is that immediately recognizable to others—even to those there are so many different ways to effectively who didn’t know about the guitar. He said were I to use play it; much magic has been produced by it I would be easily recognized as being one of his stu- Oemploying the fingers, thumb, pick or some combina- dents. tion thereof. Among those who use a pick for playing Well, that made me single lines, probably the most common method is that somewhat curious, but I of alternate picking: using some variation of alternate- still remained reluctant ly picking upstrokes and downstrokes when playing to become involved in across strings. I learned, however, that this is not the something as boring as only method of using a pick to play single lines. This picking. Besides, I article describes the method developed by Chuck would now have to n i w unlearn my alternate r Wayne, guitarist for Woody Herman, George Shearing, I e e picking style—a style Tony Bennett and a mainstay of the New York jazz L y s e endorsed by so many t scene until his passing in 1998. It is an alternative r u o c greats. And unlearning is approach to playing single lines that may not be as well o t o h so much harder than known as alternate picking, but one which Chuck felt P produced a smoother sound. -
Jazz Guitar Shed
jazz guitar shed with Dylan Kay Chords – It’s Not What You Know his article is not about learning lots of learning new ones. The secret is to apply new up to the next note in the scale to create the new chord shapes. For that, you could chords to songs you are learning. So, if you’ve next chord. You’ll learn new ways of playing Tcheck out any number of books – Jon learnt a great new way of playing the chords for other chords in the key, and it’ll also help you Damian’s Chord Factory is a great start, and a II V I from listening to Keith Jarrett, then apply in learning your scales along the strings rather books by Ted Greene, Chuck Wayne, Mick it in different keys and use it in standards that than just across them. Goodrick and Scott Henderson are just a few you’re working on. You could also write your Voice-leading. How do you know which others that spring to mind. own compositions using some new chords chord shape to use? Voice-leading is a key You might then approach developing your you’ve learnt. principle in creating smooth chord movements chord vocabulary the same way most people Chord synonyms. Find as many ways as you – moving to the next chord with the minimum work on soloing vocabulary – by transcribing can to use a particular chord. Remember that movement. The simplest way to begin this great players. These might be other guitar any chord structure you play could potentially process is just to look at the movement of the players (Pat Metheny, Mick Goodrick, Kurt have one of 12 root notes. -
IN the UNITED STATES DISTRICT COURT for the MIDDLE DISTRICT of NORTH CAROLINA GREENSBORO DIVISION Case No.: 1:06-Cv-00948-JAB-PTS
IN THE UNITED STATES DISTRICT COURT FOR THE MIDDLE DISTRICT OF NORTH CAROLINA GREENSBORO DIVISION Case No.: 1:06-cv-00948-JAB-PTS ELEKTRA ENTERTAINMENT GROUP INC., ) a Delaware corporation; VIRGIN RECORDS ) AMERICA, INC., a California corporation; ) ARISTA RECORDS LLC, a Delaware limited ) liability company; BMG MUSIC, a New York ) general partnership; ATLANTIC RECORDING ) CORPORATION, a Delaware corporation; ) SONY BMG MUSIC ENTERTAINMENT, a ) Delaware general partnership; and ) INTERSCOPE RECORDS, a California general ) partnership, ) ) Plaintiffs, ) ) v. ) ) HARRISON HAYES, ) ) Defendant. ) DEFAULT JUDGMENT AND PERMANENT INJUNCTION Based upon Plaintiffs' Motion For Default Judgment, and good cause appearing therefore, it is hereby Ordered and Adjudged that: 1. Plaintiffs seek the minimum statutory damages of $750 per infringed work, as authorized under the Copyright Act (17 U.S.C. § 504(c)(1)), for each of the eleven sound recordings listed in Exhibit A to the Complaint. Accordingly, having been judged to be in default, Defendant shall pay damages to Plaintiffs for infringement of Plaintiffs' copyrights in the 1 Case 1:06-cv-00948-JAB-PTS Document 13 Filed 03/12/07 Page 1 of 4 sound recordings listed in Exhibit A to the Complaint, in the total principal sum of Eight Thousand Two Hundred Fifty Dollars ($8,250.00). 2. Defendant shall further pay Plaintiffs' costs of suit herein in the amount of Five Hundred Fifty Dollars ($550.00). 3. Defendant shall be and hereby is enjoined from directly or indirectly infringing Plaintiffs' rights