Subject: (exotica) Amon Tobin/beatles cover albums
Date: 02 Nov 2001 02:05:24 +0800
>Am listening to a few of his LP's on the net at work - interesting stuff
>with a lot of samples from obscure exotica/rockabilly (some *really*
>obscure rockabilly).............
>
>Any comments on this guy?
>
>- Nate
I agree with Cheryl - Amon tobin's 'permutation' is a winner, particularly track 5 ('Nightlife', I think it's called), which uses what sounds like Les Baxter's version of 'temptation', from 'carribean moonlight'. The last track, a skewed sounding bossa, was subsequently used as the backing for Bebel Gilberto's recording of 'Samba de Bencao' from 'A man and a woman'.
Sorry, I'm using too many quotation marks today.
On the topic of Beatles cover albums, I've mentioned it before, but Ramsey Lewis's White album tribute, 'Mother Nature's Son', is quite awe-inspiringly brilliant - beautifully orchestrated instrumental pop/jazz cover versions. A few tracks of it are available as bonus cuts on the 'Maiden Voyage' CD, but I highly recommend tracking the LP down. It can normally be had for a bargain $5 to $10 on ebay.
Subject: (exotica) Scientists kill mice with dance music
Date: 02 Nov 2001 11:11:26 -0500
Scientists kill mice with dance music
by Danielle Demetriou
Scientists who forced drugged mice to endure fatal doses of loud dance music have been accused of " despicable" cruelty by animal welfare campaigners.
The study by Cambridge University examined how loud music strengthens the harmful effects of methamphetamine, the drug commonly known as speed.
Wendy Higgins of the British Union for the Abolition of Vivisection, said: "These sick experiments are absolutely despicable. Just because people choose to take drugs and go to raves doesn't justify subjecting animals to suffering and death in a laboratory."
The scientists, who used a total of 238 mice in the experiment, concluded that loud music strengthened the toxic effects of methamphetamine in animals. http://www.thisislondon.com/dynamic/news/story.html?in_review_id=470967&in_review_text_id=424979
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WASHINGTON (AP) -- Las Vegas lounge singer Wayne Newton joined President Bush at the White House Friday to launch this year's USO holiday tour -- a spirit-lifting deployment of entertainers for American troops, ``some of whom will be facing extreme danger in the months ahead,'' Bush said.
Newton, teen pop starlet Jessica Simpson, country singer Neal McCoy and comedian Rob Schneider leave Nov. 12 for a weeklong Thanksgiving tour of overseas posts, some of which house troops involved in the U.S. bombing of terrorist targets in Afghanistan. The entertainers will perform in Budapest and Kosovo, and also on an aircraft carrier that United Service Organization officials would not identify, citing security concerns.
Bob Hope, 98, was the USO celebrity frontman for almost all of its 60 years. In October, Newton, 59, was named to take over organizing the USO's circle of entertainers.
At Friday's East Room ceremony, Newton said his new posting would be his legacy.
``When the history is finally written about me it might say a lot of things -- and it may be just, or it may not be kind -- but it will have to admit that I loved my country beyond all else and stood up when it counted,'' Newton said in a speech twice as long as the president's.
Bush told Newton that, as he and his team make the rounds, they will find ``young men and women of the highest caliber, ... some of whom will be facing extreme danger in the months to come, all of whom are proud to serve.''
``For our troops abroad, the USO's touch of home will mean even more as we head toward Thanksgiving and, eventually, the holiday seasons of the winter,'' Bush said. ``And you can tell them they are greatly needed where they are, and they're greatly missed back home. And you can tell them the American people and the president are proud of their service.''
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I guess this must have been mentioned before, but there's a movie fropm 1999 full of Martin Denny music, silly exotica decor and even a soundtrack album, called "Breakfast of Champions", feat. Bruce Willis and Nick Nolte. The movie itself is absolutely stupid, but for fans of the king of exotica this could be a collector's item. Kevin Crossman did a review from an "exotica fan's perspective" here: http://www.kevdo.com/exotica/boc-review.html
-- Mo
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The following comments are from Peter Blackstock co editor No Depression
magazene
He was one of austin's most beloved musicians. He also had quite an
impressive gang of folks he'd played fiddle and guitar with over the years,
starting back in the 70s in South Carolina with Walter Hyatt and David Ball
in Uncle Walt's Band, thru the 80s with various austin folks including Jimmie
Dale Gilmore (jimmie & champ hosted the wednesday supper sessions gigs at
threadgills for many years), and into the 90s with Toni price and various
others, including a few tours with Lyle Lovett.
-------------------------
Spike Robinson, Jazz Saxophonist, Dies at 71
Spike Robinson, a lyrical jazz saxophonist who had careers in both music and engineering, died last Monday at his home in his adopted hometown of Writtle in central Essex, England. He was 71.
See for full obit: http://www.nytimes.com/2001/11/05/obituaries/05ROBI.html
William E. Dacus, drummer, mechanic and pilot: born Quinton, Oklahoma 11 July 1911; died Rogers, Arkansas 9 October 2001.
Smoky Dacus was the "godfather" of western swing drummers. Although his playing career was a short one û effectively just six years from 1935 to 1941 û he defined his instrument's role not only within the hillbilly jazz that is today recognised as western swing, but also within country music in general.
See above link for full obit.
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<DIV></DIV>>Can anyone recommend any other Moondog albums?
<DIV></DIV>>
<DIV></DIV>>Yes I can recommend MOONDOG ûMoondog, prestige hi fi LP 7042, 1956 (my copy
<DIV></DIV>
<P>>is a vinyl re from 1990) and this record is.... yes, very EXOTIC</P>
<P> </P>
<P>I agree with Moondog's music sounding "exotica" without actually being labelled "exotica". Another non exotica Exotica album I would recommend is Harry Partch's "The Bewitched", or many of his records, but Bewitched stands out in my mind. He used many homemade instruments that have an exotic quality to them, many sound like Boom Bams, claves and other "exotica" type percussive instruments. Plus lots of wordless female Yma Sumac style "HEE-YAA!s" and yelps. If you like Yma Sumac's "Legend of Jivaro", you will love Partch. Granted his music is a bit more dramatic and over the top than say Martin Denny or Sumac, but to me sits along side my Baxter, Lyman, Sumac and Denny in my exotica collection. </P>
<P> </P>
<P>any other non "exotica" exotica albums that anyone else can recommend??</P>
<P> </P>
<P>-jonny</P></div><br clear=all><hr>Get your FREE download of MSN Explorer at <a href='http://go.msn.com/bql/hmtag_itl_EN.asp'>http://explorer.msn.com</a><br></html>
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<P>All this talk about Jack has got me hot. Im gonna go and see what he has to sell at his site. <A href="http://www.jackdiamond.con">http://www.jackdiamond.con</A> oops i mean .com . talk about a freudian link!!</P>
<P> </P>
<P>-jonny</P></DIV></div><br clear=all><hr>Get your FREE download of MSN Explorer at <a href='http://go.msn.com/bql/hmtag_itl_EN.asp'>http://explorer.msn.com</a><br></html>
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> Just though you'd find it interesting that Don Ho's daughter is a pop singer, releasing her firt CD called "Hoku" (her name - which means "star" in Hawaiian).
Actually, that album has been out for about a year and a half. Hoko had
the "hit single" from the "Legally Blonde" Soundtrack this summer.
Subject: Re: (exotica) Moondog vs Mr Scruff vs Harry Partch
Date: 11 Nov 2001 05:17:19 -0800 (PST)
Echoing others, I have yet to hear anything by Moondog that was not good. Moondog was an original.
Speaking of Moondog, I found this record by someone named Kenny Graham and His Satellites called "The Moondog and Suncat Suites". I can't tell exactly when it was made, but it appears to be from the late 50's. .
Side one is Kenny Graham's group doing instrumental compositions by Moondog and very nicely, too. According to the liner notes, Kenny Graham has re-arranged the Moondog material, but the overall feel is that of authentic Moondog.
Side two, Suncat Suite, is a Kenny Graham composition, "inspired by the techniques of Moondog". This side sounds a little less like Moondog to me but is definitely cool and definitely enters the territory of "exotica" on a few tracks. The Moondog feel is definitely captured on "Sunstroke" -- complete with repeating percussion riffs, stream of consciousness and street-induced paranoia. A whistling solo, too. Beautiful!
There no info about the musicians except for Kenny Graham, a British sax player and jazz composer.
After I finally graduate to high-speed connectivity (planned for next weekend), I'll encode and upload for all to check out in the traditions of Otis and Basic Hip.
aka: Sometimes, he simply used only his surname 'Szathmary'.
Arranger, Song writer and Conductor.
Irving is the brother of comedian Bill Dana (nee: William Szathmary. Bill is best remembered for his role of Jose Jiminez on the Steve Allen TV Show). Irving wrote one song that was a moderate hit, "Leave It to Love" which was based on his instrumental "Time to Dance". His specialty was what he called "symphonic swing", sometime "swingphonic swing".
I first became aware of him in 1940 when he made a batch of transcriptions for Associated (Muzak). Many of them were marvellous instrumental arrangements of songs like "Mood Indigo", "Tea for Two" and "Let's Be Buddies". He also had arrangements of songs with a male vocalist (Floyd Sherman), a female vocalist (unknown) and a seven member vocal group called "The Seven Singing Serenaders". One of their songs, "I Am An American", now forgotten, would be appropriate today. They also did "The Call of the Canyon" which could be a Billy Hill number.
Later, Szathmary became the A & R man for the Lang-Worth transcription company. He made many great transcriptions most of which utilized his theme and variation orchestrations. (Among his 1940 Muzak arrangements was a theme and many variations of the nursery rhyme "Jack and Jill". For Lang-Worth, he had a sensational arrangement of "Gambler's Blues" which is "St.James Infirmary".
--------------------
Cheers,
Lou
-------------------
Carl Howard <litlgrey@ix.netcom.com> wrote:
> The score for practically the entire series "Get Smart" was the work of
Irving Szathmary. To what else did he set his hand? What further work by
this delightful low-rent maestro might be available for listening, uhh,
unto?
Carl Howard
Ohio Regional WUV Supervisor
Alien Abduction Coordinator
Communist Dupe Extraordinaire
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Thanks for this one. Diverse and groovy. I had the stereo turned on rather loud listening to it the first time and additionally one window of my studio was open, when the "vocal inspirations" of "Coming and Going" - in fact it sounded more like *coming* - draw the attention of some construction workers outside. That is I could tell from the smirking on their faces that it made some impression on them and was quite reliefed when the coming was finally going. :-)
Mo
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Subject: Re: (exotica) Basic Friendly Persuasion Hip
Date: 14 Nov 2001 11:34:14 +0100
> At 11:27 AM 11/13/01 -0500, Carl Howard wrote:
> >
> >It is really burning a hole in me, that Basic Hip is posting up these whole
> >albums, and I'm stuck on a 56K dialup!
I discovered that you can download all the song files at once Just draw them to the screen one after the other and multiple download windows will appear (Mac!) The advantage is that you can do something else in the mean time, instead of waiting for each song to download.
--Mo
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Singer, songwriter and radio and television personality Buddy Starcher died Friday (Nov. 2) at a nursing home in Harrisonburg, Va. He was 95. Starcher had two national country hits, both with his own compositions: "IÆll Still Write Your Name in the Sand," which went to No. 8 in 1949 on the 4 Star label, and "History Repeats Itself," which rose to No. 2 in 1966 on Boone Records. The latter compared the similarities between the deaths of presidents Abraham Lincoln and John F. Kennedy.
Full obit at: http://www.country.com/news/display/1450597.jhtml
(You may recognize History Repeats Itself for its inclusion on WFMU's The Happy Listener's Guide To Mind Control collection. History Repeats Itself: The original conspiracy single that reached number 39 on the pop charts in April of 1966. Buddy's basic format of patriotic background music with a sincerely demented spoken message was copied by many hyperpatriotic white rappers in the years to come... )
With benefit concerts scheduled last night and tonight to defray his medical expenses, Dobro player Gene Wooten, 49, died in Centennial Medical Center early yesterday morning from complications related to lung cancer.
Subject: (exotica) [obits] Babik Reinhardt, Panama Francis [anti-obit] Bruce Lee
Date: 15 Nov 2001 14:36:38 -0500
Jazz guitarist Babik Reinhardt passes away
PARIS: Jazz guitarist Babik Reinhardt, son of the late jazz guitar virtuoso Django Reinhardt, died Monday at the age of 57, his record company announced.
Reinhardt died in Cannes on the French riviera after suffering a heart attack, the company said.
The guitarist and composer, born June 8, 1944 in Paris, was first taught how to play the piano by his father, the gypsy guitarist Django, but his mother Naguine showed him the basics of guitar playing.
It was the guitar that then became the instrument of his choice, though he spent most of his life in the shadow of his father, who died when Babik was nine years old.
"His compositions contained as much nostalgia and expressions of warmth like a beautiful autumn afternoon in the Fontainebleau forest," a statement from the Paris-based RDC record label said, referring to the town south of Paris near to where his father and mother are buried.
Babik Reinhardt carried on the swing jazz tradition his father made famous. He participated in numerous homages to him, playing last year in the Django Reinhardt Festival at the Birdland jazz club in New York.
His albums with the RDC label include Nuances, Vibration and A Night in Conover.
HOLLYWOOD, California (Reuters) -- More than 28 years after Bruce Lee's death, computer technology will resurrect the kung-fu icon to star in the chopsocky actioner "Dragon Warrior," the first time a dead actor will be re-created in a major movie role, according to a report in Daily Variety.
The $50 million picture's South Korean financier, ShinCine Communications, acquired rights to Lee's likeness from Concord Moon, which represents the Bruce Lee estate and is overseen by Lee's widow, Linda Lee Cadwell, and his daughter, Shannon Lee.
Now in its third draft by Korean and Japanese writers, "Dragon" will be translated and further refined for an English-language production.
The project has already spent four years in development and will be the first that ShinCine has produced for the American marketplace, said company head Chul Shin.
Shannon Lee said the family agreed to do this project, "because we believe in ShinCine's and Mr. Shin's enthusiasm and commitment to making a first-rate film."
Bruce Lee was a veteran of Hong Kong cinema when he first reached mainstream American audiences in 1966 as Kato in the television series "The Green Hornet." He starred in films such as "Fist of Fury," "Way of the Dragon" and "Enter the Dragon." He died at 32 of a brain edema.
Drummer Francis dies
ORLANDO, Florida (AP) -- David "Panama" Francis, whose drumming was featured both in top Harlem nightclubs and legendary rock songs, died Tuesday after a stroke. He was 82.
Francis' career spanned seven decades. He first reached fame in the late 1930s playing with the Savoy Sultans -- described by Dizzy Gillespie as "the swingingest band there ever was" -- at the Savoy Ballroom in Harlem.
The Sultans re-emerged four decades later under Francis' leadership and drumming expertise. The Sultans were awarded The Best Big Band by the New York Jazz Society in 1980 and received Grammy nominations for two of their six albums.
When pop became a viable genre in the 1950s, Francis' services were in demand and he became one of the top studio drummers of the era.
His stickwork can be heard accompanying Buddy Holly ("Peggy Sue"), The Four Seasons ("Big Girls Don't Cry" and "Walk Like a Man"), The Platters ("Only You," "The Great Pretender," "Smoke Gets in Your Eyes" and "My Prayer"), Bobby Darin ("Splish Splash") and Neil Sedaka ("Calendar Girl").
Francis' rhythm-and-blues recordings include "Prisoner of Love" for James Brown, "What a Difference a Day Makes" for Dinah Washington, "Drown in My Own Tears" for Ray Charles, and "Jim Dandy" for Laverne Baker.
Francis' autobiography, "David Gets His Drum," was published in 1999.
Subject: Re: (exotica) The Secret Garden Of Stanley Sweetheart
Date: 19 Nov 2001 11:22:08 +0100
Brian Karasick schrieb:
> This one was on Canadian Bravo Friday for the second time in a few months,
>
> One scene that will not fail to hit home, was the source of the constant
> racket outside Stanley's (supposedly 110th St!) apartment. The image from
> the window was unmistakeably the WTC under construction just
> outside. At the stage it was at, you could see the steel tubes of the shell
> going up, and looking an awful lot like what was left once it all came down!
woooh... spooky. It's interesting how you cannot see things the same as you used to, even any ordinary skyline suddenly looks somewhat suspicious. It shows how relative interpretations are, how subjective and how dependent on pre-information. I remember we discussed this point on numerous occasions when we couldn't agree on what Exotica really is, wether it's simply innocent folkloristic or colonialistic exploitation and so on. It's all based on personal background how you see something. And these Sept11 events seem to show it better than anything else. We are lucky that the present wave of terrorists don't pray to Tiki and listen to Hawaiian music...
--Mo
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Subject: Re: (exotica) Playlist For Space Bop, November 18
Date: 19 Nov 2001 11:27:30 +0100
@ Sitar-laced strangeness:
Last night someone played Tony Scott's Music For Yoga Meditation in a new club. It sounded damn great. I only knew Scott's Zen Meditation before, but Yoga has a lot of Sitar and it seems to be incredible. I have to get it somehow... Mr. Hip... you don't happen to own this album, do you? (;-) sugarsweet undertone)
--Mo
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can guitarist michael karoli died unexpectedly this morning in his home while playing on his favorite instrument. in the last weeks we often had telephoned together in which he expressed how lucky he felt that our ways were crossing when he still was at school. in may 1966 i became a music teacher in the same school. and as i hadn't any professional training i gave a test lesson to that class where he was sitting as a pupil. the director told me to leave the room for a moment while he was speaking to the pupils what they were thinking of me becoming their teacher. michael told me later that he especially favored this idea which practically meant that i was earning a salary each month, my first - and last too. at that time he took some guitar lessons from me but frankly speaking i could at least learn as much from him as he could learn from me. after leaving the school we kept staying in contact roughly thinking what our future could become while working together on a piece by !
!
bix beiderbecker "in a mist" - a premonition to can's "mushroom". micki later commented this recording that it reminded him of the atmosphere in chicago during winter time and of "in a mist".
last time we worked intensively together was on can's "rite time" album from 1987 till 89 which we both produced. about a month ago we phoned each other to arrange a video interview date where we wanted to go through our common history. he suggested to wait a bit longer as it would appear to him speaking out his final testament. thinking of his young children he tried to avoid this thought as they strongly needed the father.
this afternoon i tried to confirm a date, a few hours too late. michael was the most intelligent guy of us all to say the least.
-holger czukay
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Subject: (exotica) [obits] Tommy Flanagan, Melvin Burkhart
Date: 19 Nov 2001 16:21:10 -0500
November 19, 2001
Tommy Flanagan, Elegant Jazz Pianist, Is Dead at 71
By BEN RATLIFF,NYTimes
Tommy Flanagan, a jazz pianist who with a classic trio set a high standard for elegance in mainstream postwar jazz, died Friday night at a hospital in Manhattan. He was 71 and lived in Manhattan.
Full obit at: http://nytimes.com/2001/11/19/obituaries/19FLAN.html
=================
November 18, 2001
Melvin Burkhart, 'Human Blockhead' in Vanishing Sideshow Culture, Dies at 94
By DOUGLAS MARTIN,NYTimes
Melvin Burkhart, a legendary sideshow performer who billed himself as the Human Blockhead and proved it by hammering nails and spikes up his nose in front of millions of Americans in thousands of places ù from the 1939 World's Fair to countless dusty midways to the Coney Island boardwalk to an off- Broadway theater just last month ù died on Nov. 8 in a hospice in Sun City, Fla. He was 94, and always swore that it didn't hurt.
He swallowed swords, breathed with one lung at a time, exhibited different expressions on each side of his face, ate fire, rotated his stomach muscles in an act called "the cement mixer," survived an electric chair, wrestled snakes and performed excellent magic. Working for a one-ring circus during the Depression, he was 9 of its 14 acts.
But it was as the Human Blockhead that Mr. Burkhart achieved carnival glory. Others had driven nails into their noses as part of larger exhibitions of withstanding pain. But he made a five-minute act out of it and added a droll presentation. Robert Ripley of "Ripley's Believe It or Not," a sometime employer, came up with the blockhead name.
Full obit at: http://nytimes.com/2001/11/18/obituaries/18BURK.html
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Subject: Re: (exotica) JUNGLE DRUMS the Lecuona tune
Date: 19 Nov 2001 23:24:15 +0100
chuck schrieb:
> There's a great early version of the song sung by an extremely
> young Dinah Shore with the Xavier Cugat Orchestra.
>
> We discussed this song a while back on the exotica list and I
> remember Mo giving a definition of Exotica with a capital E as
> music trying to capture the feel of a tropical land without using
> that lands typical customary instruments.
Or vice versa, like making jazz with exotic instruments. Which Marty did for instance
> More like Hollywood's
> imagination's version of that far off exotica land. Not indigineous
> music recorded in that exotic land. (I just butchered Mo's
> description, but that's the general point)
If you say, I said that, I believe I said it. !-) Yeah, I even remember it. I also remember a controverse string within that discussion about wether "stealing" other folks' music and using it, is exploitation or inspiration.
> I argued that Cugat's
> Jungle Drums was the first Exotica song. After hanging out with
> Kafka and getting exposed to so much music in the last few years I
> doubt its the first exotica song. Something from the turn of the
> century is my guess.
Yeah, definitely. Especially as a "Hawaiian Craze" seems to be the first ever hype in recording history, and that was from the turn of the century up into the 20s.
So if this was recorded in the late 20s I may have an earlier example at hand:
I downloaded a little film excerpt from an early Marlene Dietrich movie, it should be early 20s, but I'm not sure. It has amazingly wild jungle drums, heavy ritualistic type of pagan exotica jazz, tropical tribal stage deco and hula gogo dancers. The gig goes like this: In comes a gorilla, dancing until he zips his fur open and out steps half-naked Marlene Dietrich with a giant blonde(!) afro style wig... bizarre. Maybe I should make this available in the internet for you all. It's worth some downloading time.
--Mo
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Subject: Re: (exotica) JUNGLE DRUMS the Lecuona tune
Date: 19 Nov 2001 20:29:45 -0700
moritzR wrote:
> I downloaded a little film excerpt from an early Marlene Dietrich movie, it should be early 20s, but I'm not sure. It has amazingly wild jungle drums, heavy ritualistic type of pagan exotica jazz, tropical tribal stage deco and hula gogo dancers. The gig goes like this: In comes a gorilla, dancing until he zips his fur open and out steps half-naked Marlene Dietrich with a giant blonde(!) afro style wig... bizarre.
i believe the film in question is 'blonde venus' from 1932.
mike
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Subject: Re: (exotica) JUNGLE DRUMS the Lecuona tune
Date: 20 Nov 2001 09:14:41 +0100
kendoll schrieb:
> moritzR wrote:
>
> > I downloaded a little film excerpt from an early Marlene Dietrich movie, it should be early 20s, but I'm not sure. It has amazingly wild jungle drums, heavy ritualistic type of pagan exotica jazz, tropical tribal stage deco and hula gogo dancers. The gig goes like this: In comes a gorilla, dancing until he zips his fur open and out steps half-naked Marlene Dietrich with a giant blonde(!) afro style wig... bizarre.
>
> i believe the film in question is 'blonde venus' from 1932.
could be. Giving it a second thought this morning, in the early 20s the sound film perhaps wasn't even invented yet. Marlene looks very young though, as from the time when she didn't yet have her special Marlene Dietrich light.
--Mo
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> anyone knows great VOCAL versions of Lecuonas exotica classic JUNGLE DRUMS ?
As far as vocal versions of this song, the only one I've ever heard have used its spanish title - 'Carabali'. It's actually a little disappointing though. But it's on a great Caterina Valente LP, 'Com Edmundo Ros', aka 'Fire and Frenzy'. The album is also notable for an astoundingly brilliant vocal 'miserlou' with a pulsating cha cha rhythm tacked on. There's a soundsample for this on my site at:
I think my favorite ever version of Jungle drums is the wonderfully atmospheric Xavier Cugat version on 'Viva Cugat'.
hope everyone is doing well,
jonny
Currently really enjoying: Milt Jackson and Big Brass - 'For someone I love' from 1963 - really super cool wailing jazz instrumentals with vibes - sounds like a cross between Mancini and those Angelo Badalamenti soundtracks to David Lynch movies.
Last weekend, I posted about an LP by Kenny Graham and His Satellites called "Moondog and Suncat Suites".
To celebrate my recent upgrade to high-speed connectivity and to show my appreciation for similar gestures by Basic Hip and others, I have uploaded the LP in its entirety at:
Jerry Jerome, Tenor Saxophonist of Big Band Era and Beyond, Dies at 89
SARASOTA, Fla., Nov. 20 ù Jerry Jerome, a tenor saxophone player who was a featured soloist with the Glenn Miller, Benny Goodman, Red Norvo and Artie Shaw orchestras in the Big Band era, died at his home here on Saturday. He was 89.
Mr. Jerome later became a successful musical director and conductor on radio and television and established a music business, scoring and arranging commercial jingles, including "Winston tastes good, like a cigarette should."
Mr. Jerome, who lived in Sarasota since the mid-1970's, was the resident host of the city's annual jazz festival. He was playing until recently at festivals and at local clubs and was scheduled to perform on Dec. 10 for the Charlotte County Jazz Society.
He also continued to record. Three years ago Arbors Records released a CD, "Something Old, Something New," with tunes recorded at recent sessions as well as songs from years ago with stars like Teddy Wilson, Bob Haggart and Bobby Hackett.
The CD's sequel, "Something Borrowed, Something Blue," is scheduled for release in December.
Born in Brooklyn, Mr. Jerome started playing the saxophone while in high school in Plainfield, N.J. He attended college and medical school at the University of Alabama.
In 1936 he toured the country with the bandleader Harry Reser and his Clicquot Club Eskimos. He moved on to Miller's original orchestra and then to the Norvo band. He joined the Benny Goodman orchestra at the height of its popularity, in 1938.
When Goodman broke up his band in 1940, Mr. Jerome joined the Artie Shaw group. While with Shaw he appeared in the film "Second Chorus" with Fred Astaire and Burgess Meredith.
Mr. Jerome is survived by his wife, Elaine; four sons, Al, Bill, Jim and Jerry; a stepson, David Frankel; two daughters, Joanne Kelvin and Barbara Mazzei; two sisters, Dorothy Kahn and Elsie Abeles; a brother, Irv; 11 grandchildren; and a great-grandchild.
Subject: Re: (exotica) Tiki and Lounge are in again?
Date: 23 Nov 2001 19:49:48 -0800
<html><div style='background-color:'><DIV></DIV>
<DIV> </DIV>>In a message dated 11/23/01 5:19:31 PM, cheryls@primus.ca writes:
<DIV></DIV>>
<DIV></DIV>><< So it appears tiki culture is still "trendy" (not sure if that's
<DIV></DIV>>a good thing or a bad thing). >>
<DIV></DIV>>
<DIV></DIV>>Bad
<DIV> </DIV>
<DIV> </DIV>
<DIV>Hey, speaking of.... I watched the Macy's turkey parade on TV Thursday and there was a float with giant Tiki heads on it and hula girls. Did anyone else see that??? Pretty neat-o if you ask me. So I say......</DIV>
<DIV> </DIV>
<DIV>GOOD!!</DIV>
<DIV> </DIV>
<DIV>-jonny</DIV></div><br clear=all><hr>Get your FREE download of MSN Explorer at <a href='http://go.msn.com/bql/hmtag_itl_EN.asp'>http://explorer.msn.com</a><br></html>
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It's a stunning work with amazing diversity. I have never heard a lounge track with a sample like that one by Hans Eisler on "VorwΣrts die Zeit". Absolutely unique. Berlin discovering her roots...
--Mo
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Lee is my man, but: I cannot burn these files anymore. :( something is different this time. The burning program (Toast) says it can only take 16 bit/44KHz files and these are different. It's the first time I ever had a problem with burning AIFF files. What happened??? Help!
--Mo
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Does this mean you will exchange those files? That would be great. Btw: the files play with Quicktime, but that's about all I can do with them. Like Philip Toast gives me a "corrupted MP3" message, when I try to drag them into the audio CD window directly. I have never tried that before, I always converted them to AIFFs. Can Toast burn MP3s directly?
--Mo
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With the help of Philip (thanx!) I managed to convert the Lee files and burn my CD. It worked only in mono, but that's perhaps the original files were in mono, right? Is this a mono album, or do you just use mono, because the files become too big otherwise, Mr. Hip?
The record sounds like a children's record, with uncle Lee going "once upon a time there was a very friendly dragon named Leroy..." et al. You do have a preference for word records, don't you? Anyway, great to have this. A big Mahalo!
-- Mo
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I'm also thankful that Lee's stuff is becoming easier to get hold of. For several years, I knew him only by 'Nancy and Lee', and cover versions other bands had done (notably UK combos Gallon Drunk's take on 'Look at that Woman' and the Earls of Suave's 'A cheat'). After a year or two, I chanced on 'Trouble is a Lonesome Town' in a record store. Then thankfully ebay, online record sellers, and the CD reissues came along...
I still really regret not making it to his show in London last year though...
Jonny
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I'm also thankful that Lee's stuff is becoming easier to get hold of. For several years, I knew him only by 'Nancy and Lee', and cover versions other bands had done (notably UK combos Gallon Drunk's take on 'Look at that Woman' and the Earls of Suave's 'A cheat'). After a year or two, I chanced on 'Trouble is a Lonesome Town' in a record store. Then thankfully ebay, online record sellers, and the CD reissues came along...
I still really regret not making it to his show in London last year though...
Jonny
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Subject: (exotica) [obits] Norman Granz,O.C. Smith,Bo Belinsky,Melanie Thornton,Passion Fruit
Date: 27 Nov 2001 10:46:56 -0500
November 27, 2001
Norman Granz, Founder of Verve Records, Dies at 83
By RICHARD SEVERO,NYTimes
Norman Granz, the gruff impresario who in 1944 created Jazz at the Philharmonic, a touring group that took the jazz idiom out of the smoky, noisy bars and dance halls and tucked it into sumptuous concert halls where it flourished, died on Thursday in Geneva, where he had lived, mostly in retirement, since 1959. He was 83.
Mr. Granz also represented stars like Ella Fitzgerald and Oscar Peterson and championed their kind of music even though when he began, some critics attacked his musicians and their audiences as "lower-class swing enthusiasts." In all his Jazz at the Philharmonic presentations Mr. Granz emphasized that he wanted no dancing or unruly behavior when the music was played. He wanted people to listen, just as they might listen to Bach or Brahms.
Mr. Granz was also the founder, in 1955, of Verve Records, with which he recorded the artists whose appearances he sponsored. Under his leadership Verve captured some of the finest jazz performances ever recorded. He sold Verve to MGM in 1960, and the label was subsequently taken over by Polygram. In 1974 he formed a second record company he called Pablo, named after Picasso, whose work he admired and collected and whose friendship he cherished.
Although Mr. Granz never claimed to be anything more than an astute businessman ù "If I didn't make at least $100,000 a year take-home pay, I'd quit," he boasted in 1953 ù he was also a civil rights crusader.
He sought to protect his many black musicians from the abuses of segregation and insisted that their concerts be open to blacks, no matter how segregated the city.
He said he wanted to take Jazz at the Philharmonic to places where he "could break down segregation and discrimination."
"I insisted that my musicians were to be treated with the same respect as Leonard Bernstein or Heifetz because they were just as good," he said, "both as men and musicians."
Ray Brown, a bass player who for many years performed with Oscar Peterson, said: "The whole outfit was like a big family. Black musicians couldn't stay in decent hotels until Norman came along. People forget about what he did."
Mr. Peterson never forgot. He named one of his sons Norman, after Mr. Granz. Mr. Peterson liked to tell the story of the time Ella Fitzgerald was about to be barred from riding in a whites-only taxi in Houston and Mr. Granz had strong words with a police official there. Fitzgerald got her ride. But in that same city Mr. Granz was later accused of running a craps game backstage, for which the police arrested him as well as Fitzgerald, Dizzy Gillespie and Illinois Jacquet.
Throughout his working life Mr. Granz played down his role as a foe of segregation. "I've never tried to prove anything," he told Downbeat magazine in 1952, "except that good jazz, properly presented, could be commercially profitable."
Mr. Granz was an abrupt, acerbic man ù Nat Hentoff, the jazz critic, once called him "the most stubborn and brusque man I have never known" ù who was known to walk onstage when Jazz at the Philharmonic was on tour, announce the artists, then turn on his heel and vanish behind the curtain without bothering to introduce himself.
He had a passion for jazz, for the people who played it and for the people who wanted to listen to it. "I give people in Des Moines and El Paso the kind of jazz they could otherwise never see or hear," he said proudly in the 1950's, when his musicians were touring as many as 57 cities a year.
He began Jazz at the Philharmonic in Los Angeles in 1944 with Nat King Cole and a few others, but it eventually included stars like J. J. Johnson, Benny Carter, Mr. Jacquet, Duke Ellington, Count Basie, Mr. Peterson, Sarah Vaughan, Coleman Hawkins, Charlie Parker, Lester Young, Dizzy Gillespie, Billie Holiday, Buddy Rich, Roy Eldridge, Stan Getz, Flip Phillips and Zoot Sims. It toured the United States and abroad until 1957, when Mr. Granz discontinued the concerts, two years before he moved to Switzerland.
For a time he also directed the professional activities of people including Jonathan Winters, Mort Sahl, Linus Pauling, Dorothy Parker and Shelly Berman. And he persuaded Fred Astaire in 1952 to sing some songs accompanied by Mr. Peterson and Charlie Shavers, recordings that jazz fans still prize.
Mr. Granz was born in Los Angeles on Aug. 6, 1918. His parents had a store that failed in the Depression. As a teenager he befriended Lee Young, younger brother of the saxophonist Lester Young. Phil Schaap, a radio broadcaster who teaches jazz history at Princeton, said that through Lee, Mr. Granz gained entrance to jam sessions and thus became enraptured with the art form and excited about the possibilities of promoting it. Mr. Granz never played an instrument himself, Mr. Schaap said.
After service in the Army Special Services in World War II, Mr. Granz attended the University of California at Los Angeles, where his major was philosophy. As a sophomore he talked the management of the Trouville Club in Los Angeles into letting him mount a jazz concert during the club's slow night. He insisted on listening only ù no dancing ù and an integrated audience. It was a success.
After three years of studying philosophy, Mr. Granz came to feel, unphilosophically, that he wasn't hearing enough good music, and by good music he meant jazz. "I felt there was something lacking," he said. "Nobody was bringing together the great musicians."
Cole was a fine jazz pianist who worked with a splendid trio but not yet a pop star when Mr. Granz telephoned him and suggested that he appear in concert in Los Angeles with Lester Young and Billie Holiday. He agreed, and they all appeared together in Los Angeles Philharmonic Auditorium. The occasion, besides providing good music, raised money for young Mexicans whom Mr. Granz felt had been wrongly arrested in the Zoot Suit riots of 1944.
The concert was a smashing success, and within a couple of years an amorphous, ever-changing troupe of musicians and singers were touring the country under the aegis of Jazz at the Philharmonic. Mr. Granz paid all of them well. Fitzgerald, for example, earned $50,000 a year, then a tremendous sum, from the Jazz at the Philharmonic series alone. It was Mr. Granz who ultimately persuaded her to record her "songbooks" of the works of Cole Porter, the Gershwins and other great creators of American standards, recordings that kept selling into the next century.
There were problems as well as triumphs. At one point Mr. Granz wanted Jazz at the Philharmonic to be booked into Kleinhaus Music Hall, owned by the city of Buffalo, in 1955. But the managers of Kleinhaus were not sure they wanted jazz there. Winifred Corey, director of the hall, said the last time jazz musicians came, "the crowd in the balcony" had "tramped their feet until you could almost feel the building shake." Mr. Granz, facing the prospect of sending his musicians into a rented movie house, canceled the concert, saying that a movie house wasn't good enough. Not for his musicians.
After he started Verve, Mr. Granz began recording all of his stars before live audiences. Most people had never heard recordings made at live performances, and there were questions as to whether the public would buy such stuff. Manny Sachs, then the top jazz man at RCA, said that when he listened to Mr. Granz's recordings, all he could hear was crowd noise. His counterparts at Columbia and Decca tended to agree. But jazz buffs proved them wrong.
Mr. Granz maintained that the executives at the big record companies never did understand how to record the way Verve recorded.
"The major labels have never shaken that studio mind-set of control," he said. "They do a `live' album at Carnegie Hall, yet they put up a forest of mikes onstage. They balance, edit, filter and doctor the tapes. It ends up a studio date with the audience as a prop. It's all a fake."
Mr. Granz is survived by his wife, Greta.
He was often described as retired but never in fact retired. In 1998, after years of silence, he came up with a video showing Charlie Parker and Coleman Hawkins in the 1950's.
Verve presented a gala at Carnegie Hall to observe the 50th anniversary of Jazz at the Philharmonic and Mr. Granz's accomplishments, but Mr. Granz, who felt he had never been given his due, did not attend and said: "They're 20 years too late. I'm not interested in that sort of thing now."
In 1999 Oscar Peterson went to Lincoln Center to accept Mr. Granz's lifetime achievement award since Mr. Granz said he wasn't well enough to attend. Mr. Peterson said, "Norman had an unflagging will and dedication to change the bigoted and hurtful attitude of segregation he had to deal with below the Mason-Dixon line."
LOS ANGELES, Nov. 26 (AP) ù O. C. Smith, best known for singing a Grammy Award-winning rendition of "Little Green Apples," died on Friday in Los Angeles. He was 65.
Full obit at: http://nytimes.com/2001/11/27/obituaries/27OCSM.html
Bo Belinsky, whose pitching prowess as a rookie with the Los Angeles Angels catapulted him to the life of a Hollywood playboy and the fleeting glitter of a 1960's celebrity, died Friday at his home in Las Vegas. He was 64.<<snip>>
Among his fans was Winchell, who wrote of Belinsky's feat in his widely read newspaper column. Belinsky was soon driving a red Cadillac on Sunset Strip and was dating Ann-Margret, Tina Louise and Connie Stevens. He was engaged to the actress Mamie Van Doren.
Full obit at: http://nytimes.com/2001/11/27/obituaries/27BELI.html
Talking about Ghost World... A friend found the DVD of Gunaam, the Indian film featured at the beginning, in a store in the Indian section of Queens, in NYC.
So I would guess it must be available anyplace with a big Indian community.
The number shown on the film is the best one, and it lasts much, much longer. There are maybe another four musical numbers and a plot that didn't make much sense -it included stabbings and flying in planes. I saw most of it out of the corner of my eye and paid attention when the music came back.
Bye,
Manuel
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> I still really regret not making it to his show in London last year though...
Don't be too said. Although seeing the man in personal was great for any true fan, the show itself was considered soso by most people who were there (incl. me). Only Jill Mingo went crazy when Lee gave his famous womanizer version of Whole Lotta Shakin.
Speaking of concerts I regret not having attended, this would be Osvaldo Pugliese in Amsterdam 198...9? or so... Anybody else with sensational regrets?
--Mo
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Subject: (exotica) "MaryJane" OST with Mrs Miller singing and starring anbody?
Date: 29 Nov 2001 12:48:24 +0100
Does anbody by accident have this? Perhaps even Mr. Hip?
History:
Mrs.Miller gives her angle on the marajuana conspiracy by contributing to the soundtrack of this exploitation film classic. Produced by the legendary Mike Curb.
Mary Jane 95 min, color - 1968 - American International
This exploitation film about the evils of marijuana finds art teacher Phil Blake (Fabian) discovering some of his students are smoking pot. Although he admits to the students he tried it himself in college he is dumber than a bag of hammers about student drug use. Phil has eyes for fellow teacher Ellie (Diane McBain) until he discovers she is the main dealer along with the star of the football team. Susan (Patty McCormick) is all grow up from her appearance in "Bad Seed" and Terri Garr makes a brief appearance as a student. The film is a feeble attempt to cash in on the sensationalism of marijuana use. Richard Gautier co-wrote this unintentionally laughable film along with Peter Marshall of "Hollywood Squares" television fame. Marshall and Gautier prove with this feature they are two of the biggest squares in Hollywood.
DAN PAVLIDES - www.allmovie.com
-- Mo
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Sorry, if this was mentioned before - I haven't been following this thread from the beginning:
There is a "Sunny" compilation out on Roof Records / Trocadero records with versions by Arthur Lyman, Georgie Fame, Booker T, Robert Mitchum, Herbie Mann, Andy Williams, the Ventures, and others...
http://sunny-the-song.de
(I guess this *must* have been mentioned... anyway...)
-- Mo
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> "New Wave" is always such a loaded term, with different people seeing it
> differently. I think first of the quirky, individualistic, indie sort of
> acts (B-52's, Pere Ubu, Lene Lovich (the Yma of the 80s), etc).
Me too.
> But I think
> the masses define it as MTV new wave (Thompson Twins, A-Ha, etc), which I
> do find pretty icky stuff.
Which is like disco with wave elements. Or wave going discoish...
> I have been known to argue the "good" new wave
> as comparable to exotica and space age pop for the way it veered away from
> the puritan orthodoxy of guitar rock to more clever and colorful
> arrangements using a wider variety of sounds and styles.
well, this would be not a very "immanent" category. Musically New Wave actually has elements of Ska, Kraut Rock, Punk and electronic avantgarde. Above all I think it was a conceptual movement; it had some kind of message, so anything that was "anti" the mainstream could be New Wave. In that way you are right. But exotica in comparison never had an attitude "against the establishment" ...
Mo
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Ah, I still love Fun Boy Three, and the Colourfield. For someone who isn't really a fan of ska or reggae, Fun Boy Three are a good window of enjoyment. I believe Terry Hall is now releasing music solo, or was, but I admit I haven't heard any of it.
Mr. Unlucky
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Subject: Re: (exotica) Farewell George Harrison.......
Date: 30 Nov 2001 21:55:53 +0100
Clayton Black schrieb:
> > He was the only Beatle with a substantial musical career after the Beatles.
>
> I agree with all that you said, Mo (and I also liked him most among the
> Beatles), but can you explain this line a little more? I can go along with
> it regarding Ringo, but even though I'm not much of a McCartney fan, it
> seems to me he has had a substantial musical career after the Beatles,
> hasn't he?
This is of course very subjective. Fact is, I don't like any single song Paul made after the Beatles, and that is why I made this statement. I mean, Ringo also did a couple of albums and jammed here and there, but I can't really take it serious. Paul to me, at his best, is the con-genius partner of John Lennon.
--Mo
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Subject: Re: (exotica) More Specials More topics More reggae More ska
Date: 30 Nov 2001 22:10:50 +0100
azed@pathcom.com schrieb:
> I had their records for about ten seconds.
> Till I decided that I actually hated ska.
> One of the few musical genres that I continue to hate.
> It reminds me too much of polka and the macarena.
Interesting point. It's true. It IS a bit polkaish. But don't you like ANY polka at all? I love ska. Did you ever consider to dance, I mean, really dance to it? It's so cool. Actually it's rock'n'roll going calypso, so it has this charming - a little bit - naive element, which is absolutely exotic, because it's tribal... primitve...
> It doesn't really remind
> me of reggae, which I don't hate.
> Reggae is more in the category of "I don't care if I never hear it again".
Discordia! I love Reggae. Actually it's the only living relevant popular international music, that you could call exotica IMHO. I use to have my reggae phases. For some weeks I really go for it, and then I don't care for it at all for months or years. You have to be "in it" to dig it. Now that you said this, I will bother you with a reggae compilation!!! (uh, ring-related)
> You can talk about anything without having to preface it and say "I don't
> know what this has to do with exotica but..."
I know what reggae has to do with exotica.
Recent reggae finds:
"Boss Reggae" - the guitarist of the Skatalites with an instrumental solo album - super duper!
"Best of Harry "J" Johnson", double LP/CD, who made my absolute favorite reggae tune of all times, "The Liquidator", but also produced incredible things like "Young, Gifted And Black". On the Trojan label.
Mo
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Subject: Re: (exotica) More Specials More topics More reggae More ska More polka
Date: 30 Nov 2001 22:54:43 +0100
Marco \"Kallie\" Kalnenek schrieb:
>
> > Interesting point. It's true. It IS a bit polkaish.
>
> Do you really think so?
> Uhm... isn't polka supposed to be OOM-pah OOM-pah and ska more like oom-PAH
> oom-PAH...?
>
both are 4/4 rhytms with a tendency to 2/4, which makes them similar. Very different from oom-dz-pah-dz, oom-dz-pah-dz... resp. oom-dzicke-doom-dzicke, oom-dzicke-doom-dzicke, which would be real 4/4s. oom-PAH, dz-dz, oom-PAH, dz-dz is more what reggae is. Besides that reggae is slower, ska often skips the second oom-bassdrum, as in oom-pah-dz-pah, oom-pah-dz-pah... the similarity of Ska to New Wave however is, that New Wave often has this "octave bass", like an alternating low C-high C, oom-pah-oom-pah-oom-pah-oom-pah, which dominates many songs, making them unusually fast and, imho similar to Ska. No wonder Ska was the next big thing after new wave.
Mo
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> "Boss Reggae" - the guitarist of the Skatalites with an instrumental solo album - super duper!
>
> "Best of Harry "J" Johnson", double LP/CD, who made my absolute favorite reggae tune of all times, "The Liquidator", but also produced incredible things like "Young, Gifted And Black". On the Trojan label.
I like a little bitty slice of reggae almost all year round. I donÆt
have many records, but the few I have I really appreciate. The best is
the double LP best of Jackie Mittoo on Souljazz (Iif I remember
correctly). He was a keyboarder (mostly hammond, some electric piano) at
legendary Sudio One. And this music mixes so perfectly with other ALL
the other stuff I like.
KK
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http://www.besonic.com/kawentzmann
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While I'm not a huge reggae fan, there are a few reggae gems I treasure like "Satta Massaganna" by The Abyssinians -- a roots masterpiece with great harmonies, great lyrics and great percussion.
Another musical landmark, in the dub genre, is "Time Warp Dub Clash" (titled "Raiders of the Lost Dub" until George Lucas found out about it) . Sly and Robbie were years ahead of their time and influenced hip hop, trip hop, techno, etc.
