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theteenagetrickster · 5 years ago

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How Henry Ford, Who Published Racist Diatribes Against Jazz, Helped Popularize the Sound of Jazz and R&B - The Truth About Cars

Henry Ford playing fiddle with his old-time dance orchestra on his 70th birthday in 1933. (From the collections of The Henry Ford)

Henry Ford was unquestionably a great man, but he was not a very good man. As an entrepreneur and industrialist, he may have changed the world — for the better, I personally think — but as a human being he had serious failings. According to Richard Bak’s , the elder Ford would humiliate his son, Edsel, in public because Henry, a farm boy, worried that his only child would become the soft son of a rich man. That practice continued into Edsel’s adulthood.

Clara (Mrs. Ford) had to make her peace with Henry’s long-term relationship with Evangeline Cote Dahlinger, whom the industrialist met when he was 50 and she was 23 — his associate C. Harold Wills’ secretary at the Highland Park plant. Her son John Dahlinger asserted that he was the son of Henry Ford, whom he strongly resembled.

Ford’s public life was no less unsavory. His bigotries are well known. In his mind he divided the Jewish community between “good Jews” — those he personally knew, like architect Albert Kahn — and “bad Jews,” the boogeymen “bankers” of his fevered imaginations. Less well-known is the fact that many of the most hateful things attributed to Ford were not his own words.

Henry Ford was no writer. After foolishly for defamation, ignoring the old saying about not suing folks who buy ink by the trainload, Ford was shown, in a humiliating fashion on the witness stand, to not be a proficient reader. In guiding the development of the Model T, we know that Ford preferred wooden models of parts to blueprints. He may have been dyslexic. He certainly didn’t have the skills to write for publication.

Ford’s autobiography, My Life and Work, was ghostwritten by Samuel Crowther.

The task of expressing Ford’s distrust of world Jewry fell to Ernest G. Liebold, Henry Ford’s personal secretary and general manager of , the newspaper Ford used as his public megaphone. Liebold first came to Ford’s attention when, in 1912, Henry took over the small Dearborn bank where Liebold worked as a teller. The son of Prussian immigrants, he was precise, rigid, unemotional, and willing to do things that Ford wouldn’t ask his other associates to do (well, other than Harry Bennett). Over time his services to Ford included being his personal business representative, signing the automaker’s personal checks, responding to Ford’s mail, acting as Ford’s personal spokesman to the media, and, perhaps most importantly, controlling Ford’s schedule and who had access to him.

Liebold, like Ford, was also a man with Jews on the brain. He believed in Jewish conspiracies and, with Ford’s backing, set up an agency in New York City to investigate prominent Jews and those Gentiles he considered to be doing the bidding of Jewish masters. He surrounded himself with like-minded Jew-haters, an interesting mix of former government officials, ex-Secret Service men, czarist Russian emigres, fanatics, and ex-cons.

At the Dearborn Independent, Liebold began running a series under the heading of The International Jew, alleging all sorts of nefarious activities to those of the Mosaic persuasion. Jews supposedly had a “dictatorship” in the United States, where they maintained secret control of newspaper editors, bootlegged whiskey, Tammany Hall, and even major league baseball.

Liebold’s (and Ford’s) bigotries were not restricted to Jews. They saw blacks as inferior and criminal, though that, too, was blamed on Hebrews. The Independent blamed lynchings of blacks on “Negro outbursts” provoked by “n***** gin” allegedly produced by Jews.

One of African-Americans’ great cultural contributions to America and the world, jazz music, was also seen by Ford and Liebold as a Jewish plot*. Jewish Jazz – Moron Music – Becomes Our National Music, was published in the August 6, 1921 issue of the Dearborn Independent. Recorded music had been around since Edison’s 1877 wax-cylinder phonograph, and the “modern” Victrola that played Emile Berliner’s flat recordings was introduced in 1906. However, though the phonograph was a great success, in the 1920s much of what was considered popular music was still being sold as sheet music, and much of that originated from music publishing firms in New York City’s “Tin Pan Alley,” where many of the composers, lyricists, and publishers were from Jewish backgrounds.

From :

“Many people have wondered whence come the waves upon waves of musical slush that invade decent parlors and set the young people of this generation imitating the drivel of morons… Popular Music is a Jewish monopoly. Jazz is a Jewish creation. The mush, the slush, the sly suggestion, the abandoned sensuousness of sliding notes, are of Jewish origin.

Monkey talk, jungle squeals, grunts and squeaks and gasps suggestive of cave love are camouflaged by a few feverish notes and admitted to homes where the thing itself, unaided by the piano, would be stamped out in horror. Girls and boys a little while ago were inquiring who paid Mrs. Rip Van Winkle’s rent while Mr. Rip Van Winkle was away. In decent parlors the fluttering music sheets disclosed expressions taken directly from the cesspools of modern capitals, to be made the daily slang, the thoughtlessly hummed remarks of high school boys and girls.”

And you thought jazz was about improvising on a musical theme.

In addition to the less savory aspects of Henry Ford’s musical tastes, he had a genuine affection for the kinds of traditional music that many Americans played at home and at community events. Among Ford’s personal artifacts at the Henry Ford Museum are his Stradivarius and Guarneri violins that he used to play fiddle music.

Ford started subsidizing old-timey music. Richard A. Peterson, the author of Creating Country Music, said that Ford, “put more money into promoting country music in the 1920s than anyone else. Ford was frightened by what he saw as the urban decadence of couples jazz dancing. In response he organized fiddling contests and promoted square dances across the country to encourage what he saw as older, more wholesome forms of entertainment.”

By the way, before you read “urban” as a euphemism for “black,” as it is sometimes used today, Ford genuinely didn’t like big cities and regretted how the success of the Model T created wrenching changes for the rural America of his youth.

Among those wholesome forms of entertainment, found in many homes, were reed organs, also known as pump organs. Once quite popular, you can find pump organs free for the carting these days on Craigslist. A reed organ is like an accordion with a steroid problem that you sit at to play. Foot pedals pump a bellows that sounds the reeds. Ford liked organs – there are at least a couple in the Henry Ford Museum’s collection, and he and Clara had an elaborate and costly pipe organ installed at their Fairlane estate by the Estey organ company, with the keyboard placed in a spot of honor in the mansion’s living room

Henry Ford was a tinkerer at heart, completely self-taught. He learned enough to become the chief operating engineer of Detroit’s Edison Illuminating Co., but he was far from a university-trained engineer. Laurens Hammond, on the other hand, was a graduate of Cornell’s engineering school.

Laurens Hammond (Hammond publicity photo)

Coincidentally, Hammond’s first job after graduating from college and serving in the military in World War One was for the automobile industry in Detroit, for the Gray Motor Company, which made marine engines. While at Gray, he invented a silent spring-driven clock that was successful enough that he was able to leave Gray and set up a small office in New York City. It was there he then developed an early version of shutter-glasses for viewing 3D films. That wasn’t a commercial success, though, and Hammond moved to Chicago to continue work on a synchronous electric motor he had invented.

Because it was linked to the frequency of the alternating current electric supply, it was very, very accurate. It had very little torque, though, so little that the motor had to be hand-cranked to start, but Hammond found a market for a low powered, but very accurate electric motor. Going back to his earlier invention, a clock, he replaced the spring drive with his synchronous motor, which could be started up by spinning the clock’s hands.

Though the clock company was an initial success, the Great Depression took its toll on Hammond Clock. Laurens Hammond pursued a couple of other inventions, like a self-dealing card table for playing bridge, but he ultimately found success in a market segment known better for bingo than for bridge.

America has always been a secular country with a fairly religious populace. Thousands and thousands of churches dotted America’s landscape in the 1930s. Many of them needed an organ, but something from the Aeolian or Skinner pipe organ companies was beyond the means of many less affluent churches.

Inspired by Thadeous Cahill’s Telharmonium, a massive, 200-ton machine patented in 1897 that was the progenitor for every electronic music synthesizer in use since, Hammond developed the “tonewheel generator.” To create music electronically, you first need something that can create a pure tone — a sin wave. Those pure tones, when combined with harmonics (integer multiples of the base tone’s frequency) and partials (fractional multiples), along with attack, sustain, and decay characteristics, are what make a violin sound like a violin and a flute sound like a flute.

For centuries, pipe organ makers have used that method to imitate other instruments, though to this writer’s ears, no matter what the “stop” on the pipe organ is labeled, it’s going to still sound like a pipe organ, perhaps an organ trying to sound like a flute, but still an organ.

By the 1930s there were vacuum tube-based oscillators that could create pure tones, but the sheer number of tubes necessary to create the many needed tones made tube-based organs cumbersome, hot, and not very reliable. Instead, Hammond pursued an electromechanical method of creating tones called a tonewheel.

A period article from Popular Science magazine called Hammond’s invention an “Electric Piano” and managed to get both how the organ worked (it used tonewheels, not vacuum tubes to generate tones) and where Hammond’s company was located (Chicago, not New York) wrong.

Hammond didn’t invent the tonewheel but he perfected it. Imagine something like a bicycle sprocket spinning past an electromagnetic pickup set radially near the teeth. As the profile of the sprocket’s teeth passes the pickup, it induces an alternating current whose frequency and amplitude are related to the number of teeth, their shape, and the sprocket’s speed. Using his quiet, accurate motors to power the tonewheels resulted in tones that didn’t waver. Hammond organs with tonewheel generators never really need tuning (though a lack of lubrication will affect pitch). Since the tonewheel motor was still low on torque, the original prototype had a hand crank, replaced in later production units with higher torque starter motor, to get the tonewheels up to speed before switching to the synchronous drive.

At first, Hammond thought he would sell a novelty called the Electric Flute that would sell for $30 or $40 dollars.

The Ethics of the Fathers responds to the question, “who is wise?”, with the answer, “he who recognizes the birth of something,” someone who sees the possible consequences of something from its start. It is a rare inventor who sees the full potential of even his or her own invention. Laurens Hammond himself thought Don Leslie’s rotating speakers made his organs sound worse, but Hammond Organ eventually bought Leslie’s ideas and his company, and today the swirling sound of a “Leslie” is closely associated with Hammond organs.

Hammond did, however, realize that his tonewheels had more potential than just being a plaything and started to develop a fully voiced organ.

That presented a problem because, ironically, Laurens Hammond couldn’t play keyboards. You can find publicity photos of Hammond sitting at one of his organs, but you will search in vain for a film or recordings of him actually playing the things.

Not being able to play an instrument is not necessarily an impediment to inventing or improving a musical instrument. Nobody today cares how good a violinist Antonio Stradivari was. Leo Fender couldn’t play guitar or bass, and he pretty much perfected the electric guitar and with George Fullerton, who also couldn’t play, Fender invented the electric bass. Hammond, though, was also tone-deaf, so profoundly so that he has been described as “amusical.” Nearly everyone that he hired after he started the organ project, whether they were secretaries, bookkeepers, or engineers, they were also musicians because he needed their ears.

Work on the prototype and patent sample started in 1933. Sources say that patent approval was sped up because the U.S. Patent & Trademark Office saw the invention as commercially viable and thought it would create jobs during the worldwide economic depression. The patent was granted in April, 1934 and production of the Hammond Model A organ began in 1935. While Hammond was waiting to hear from the patent office, like any inventor he must have had concerns if his invention was going to be commercially successful or not.

By the time production started, though, Hammond knew he had at least one customer, a very important customer.

In February 1934, after the prototype organ was returned to Hammond’s Chicago office from the USPTO, two engineers from Dearborn, Michigan visited Hammond’s facility at the personal request of Henry Ford. Somehow Ford had found out about Hammond’s new organ, perhaps from a source in the patent office, and he wanted an expert opinion. The engineers must have approved because they placed a tentative order for the first six Hammond Model A organs.

Thus, Henry Ford was the first customer for the Hammond organ, even if he didn’t end up owning the first one.

This is a good time to clear up some confusion. For a long time, there was a Hammond Model A on display in a place associated with another Model A, the Henry Ford Museum, one of those six. It was thought by some that that was the first production Hammond organ, a notion Henry did nothing to rebut. Additionally, the Hammond company promoted the idea that famed composer George Gershwin got the first Hammond organ. Considering how Henry felt about “Jewish jazz,” and considering that Gershwin was born Yakov Gershowitz and wrote some of the most famous jazz and blues compositions ever, it isn’t surprising that Henry might have rather people thought of him as owning the first Hammond organ, not Gershwin.

While there’s no record if Henry Ford and Laurens Hammond ever met in person, Ford did get a chance to personally check out an early Hammond Model A. One of the first production units was loaded onto Hammond’s beat up Ford Model A panel truck, driven by Emory Penny, sales manager for the Hammond Clock Co., and John Hanert, Hammond’s chief engineer. They were headed for the instrument’s first public demonstration at the 1935 Industrial Arts Exposition in the RCA Building (now 30 Rockefeller Plaza) in New York’s Radio City. Before they got to NYC, however, Penny and Hanert detoured to Detroit to show it to a very important customer before the general public got to hear it.

The roads between Chicago and Detroit in 1935 weren’t exactly up to modern Interstate highway standards and proved to be a test of the organ’s durability. When they got to Dearborn, Ford had them directed to drive the now muddy truck right into the Ford Engineering Laboratory building and onto its shiny oak floors. The industrialist brought along a “hillbilly” band to accompany him as he tested out the organ. His reaction was overwhelmingly positive.

“In twenty years, there should be one in every home in America,” Ford told Penny, adding, “You should sell organs at $300 . . . and don’t fall into the hands of those Eastern Bankers.”

Despite apparently thinking they could be sold for a fraction of the $1,250 introductory price, Ford gave his personal approval to the purchase of those half dozen Model A Hammond organs.

While en route to New York, Penny wrote to Hammond, “I feel he [Ford] would lend us half a million dollars.”

One of those six instruments was the organ that was on display for over 25 years at the Henry Ford Museum. Unfortunately, that piece of musical history was destroyed in a 1970 fire at the museum along with many other artifacts.

Incidentally, the actual first Hammond Model A didn’t belong to either Henry Ford or George Gershwin, though the fact that they endorsed the instrument with their purchases was undoubtedly a factor in Hammond soon being deluged with 1,400 backorders. Hammond Model A #1 ended up at a Kansas City dealer, who used it as a traveling demonstration unit for years until it was sold to a local church. It is now at the Smithsonian in Washington, D.C.

Bob Pierce, a salesman for that dealer, described the early days on the road with it in his book, the Pierce Piano Atlas.

“Three of us, an organist, a maintenance man and I traveled in safari-like fashion with a van and an automobile for the next three years. We drove through Kansas, Nebraska, Oklahoma, Iowa, Arkansas, and Texas, hitting every little burg with a population over 100. We demonstrated the Model A on university campuses and radio stations, for women’s clubs, in music stores and churches, and even mortuaries. The only places we avoided were the gin mills.” That last bit proved to be ironic.

Hammond #1 ended up in a church and Bob Pierce’s sales team made sales stops at churches part of their regular routine. That wasn’t coincidental. Pipe organs were expensive and the Hammond Model A was a reasonable facsimile at a much lower price. The Hammond Model A was so competitive that pipe organ makers even lobbied the Federal Trade Commission to prosecute Hammond for calling his instrument a true organ instead of their preferred term, an “electrotone.” That backfired, as tests conducted at the University of Chicago’s chapel showed that experts were unable to distinguish between a Hammond and a $75,000 Skinner pipe organ. Hammond got slapped for unsupported claims in his advertising, but he won the right to call it a “Hammond organ.”

Whether Hammond salesmen deliberately marketed the Model A to black churches because they had less money to spend on organs, or whether it was because there were African American churches in the general vicinity of the Hammond factory on Chicago’s West Side, Hammond organs undoubtedly quickly became popular in black houses of worship. The Hammond B3 model was introduced in 1954 and added a percussive attack to the instrument’s tone and a “scanner” vibrato that fit well with the strains of the gospel music performed in those churches. The B3’s funky sound also fit new forms of popular music better than the tone of Wurlitzer’s competing organs, which were more in tune with rollerskating rinks.

The sound of the Hammond organ in church inspired musicians like Fats Waller, “Wild” Bill Davis, and the great Jimmy Smith to take up the instrument in a jazz setting. Smith’s protege Jimmy McGriff did likewise with the blues. Soon nightclubs purchased Hammond organs for visiting players to use just as they would have pianos. Moving from jazz and blues clubs to rhythm and blues bands like Booker T and the MGs was just a hop, skip and jump, making the Hammond B3 organ one of the elemental sounds of soul music.

Henry Ford died in 1947. By the time the Hammond organ started becoming popular in African-American music in the 1940s, though, Ford was already beginning to show signs of dementia, so he likely was not aware of what was happening in the world of music. If he had been aware of the kind of success the Hammond organ had, and with whom it had that success, he might have had some reservations about sending those engineers to Chicago.

In any case, that is how Henry Ford, a notorious bigot and hater of jazz and African American music, ended up inadvertently helping the Hammond organ become one of the foundational sounds of black worship, jazz music, and rhythm & blues.

*Little did Ford know that the Kosofsky family of New Orleans helped jazz pioneer Louis Armstrong buy his first horn.

This content was originally published here.

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callousedwings · 8 years ago

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Interview of the three generations : San Diego OH! Tecture, St.Paul’s Episcopal Cathedral, and First church of Christ, Scientist .

The three periods of San Diego’s architecture.

Here’s the sneak peek at the open house. We had interviews by our budding engineer and artist, Masked Explorer (M.E.), at three places to represent three distinct generations and transformation of San Diego’s architecture history. If you want to have a private tour please call the place and arrange field trip options.

Interview one : Modern Style.

Tecture, a progressive studio for design-build. Great place to bring exposure for budding artists, engineers, designers, crafters, and builders. Follow them @TectureInc 1861 Main St, Suite B. By the corner of the block overlooking the Barrio Logan gate with free curbside street parking and nearby plaza which provides 2-3 hrs free parking.

Our first Interview spot featuring the puzzles.

Q : Hello! This place is amazing!

A : Welcome!

Q : Do you mind if we ask several questions?

A: Ask away!

Q : Can you tell us about who do you usually work with? And about a desk that looks like giant puzzle downstairs.

A : Sure do. We work with a lot of restaurants in the town and you can see some of it in our new brand book. The desk is actually the Jagermeister mobile bar? It does look like a puzzle isn’t it? That is good for a restaurant or anyone who wants a movable bar, or a place to put drinks.

Q: That’s so cool! We saw all the tools downstairs, the big table and clamps of different sizes, it is neat to be able to see and touch it, do you mind to show a particular and bigger tool? (M.E. pointed to a tool downstairs.) And what do you use that for?

A: Oh no problem! Come! This is the drill press. We used it on different things, let me turn it on. See with this we can make different holes or dips in the wood. If you use it for a short time on a thick piece you can make dips, and longer for holes. You can make patterns too.

Q : Like the one that looks like a beehive?

A : Yes! We can then shape the hole into hexagons like the hive.

Q : That’s so neat. Thank you for showing us around!

A : Your welcome and have a good day!

Q : Will do!

Interview two : Gothic-Romanesque Style.

St. Paul’s Cathedral An episcopal church in Bankers Hill with Gothic and Romanesque architecture reflected on the walls of the sanctuary. Great place to bring exposure for budding historians, artists, engineers, musicians, and builders. Follow them @StPaulCathedralSD. 2728 Sixth Ave. By the corner of the block overlooking the South side of Balboa Park, by the bridge. Balboa park provides plenty free parking.

The organs and the rose window of St. Paul, our second spot.

Q : Hi. This is so beautiful.

A : Thank you and welcome.

Q : Do you mind if we ask several questions?

A: Go ahead.

Q : Can you tell us about the big organ?

A: Ah, yes! That is an Aeolian-Skinner organ. It was built in the late 1800s and was shipped from the East coast and the earlier pieces had to travel all the way down to the south tip of the American continent because Panama Canal wasn’t fully open yet! At least not for bigger ships. And guess how big the biggest pipes are?

Q : Err, my height?

A: How tall are you, about 3 feet? Well, the pipes are 30 feet.

Q: That’s 10 times of my height!

A: Yes! And the smallest one is about, ye high, less than half an inch. So all of the pieces finally come in the 1950s, the similar time when the church construction was done. But the Great Hall, which is where you are standing, was actually done about 20 years before.

Q : That’s a long wait.

A : Indeed.

Q : So is the organ played every day?

A : Not every day, but organ recitals are every Tuesday at 12:30 pm. Other than that it also accompanies the choirs. There are three of them. The adult choir that sings on Sunday at 10:30, then the boys and men, which is named Cathedral Choristers, and the St. Cecilia’s Choir, which are the girls and men, both sing weekly. Come by for concerts, some are here at the cathedral, but like today, over on the other side, we have violin recital. They’re all open to the public.

Q : We will! Can you tell me about the small piano-like over by the small organ? Isn’t that a harpsichord?

A: Yes! It is. Do you know how to play piano?

Q : A little bit.

A : Here. Let me open it. Go ahead.

Q : It sounds different, it’s....ermm.

A : Not as rounded as the piano right?

Q : It is! Where do the strings got struck though? Usually, in a piano, it’s easy to see-- oh I saw it, under the book holder. This is great! Thank you for letting us play the harpsichord.

A : Your welcome. Now come here seat at the very front on the right side. Let me tell you a secret, you are now sitting in a seat where Queen Elizabeth of England once sat.

Q : Wow...Thank you for telling us about the history and the music.

A: Your very welcome. Come again for the organ recital every Tuesday.

Q : Will do!

Interview three : Mission Style.

First Church of Christ, Scientist. Great place to bring exposure for budding historians, artists, engineers, and builders. 2450 Second Ave. By the corner of the block, Second and Laurel St. Balboa park provides plenty free parking, but for closer spots, there are plenty of curbside parking.

Featuring the stained glass dome for our third spot.

Q : Hello!.

A : Welcome.

Q : Do you mind if we ask several questions?

A: Not at all!

Q : Was the building built in one time?

A: Oh no. This building is built in steps, and we have several renovations. An example is the Dome up there. It was calculated properly with the provided measurements. But when it was ready to build, the engineers and builders found out that the actual building’s length is actually about a couple inch, less than a foot though, longer than the original measurement.

Q : But didn’t they already has the exact measurement?

A: Well, when you put bricks next to each other without calculating the cement in between, that happens. And the cement cannot be exactly the same amount, so they have to recalculate.

Q : Is it easier the second time?

A : Yes! Because we just have to change the numbers but we already know the equations. And that’s just one instance. When we hired an architect and engineers to expand the building, he told us something unique about the history of the building. The foundation of this building is full of rocks and very hard to penetrate or break so you can imagine how hard it was to do it with shovels.

Q : Without the big machines?!

A : Yes! Because at that time no big machines are invented yet. See this part of the building is newer, and the engineers could use machines, which by then was already invented, and finished it faster. Before the renovation, this southern part of the building opened up to the main hall, but in the restoration, the congregation decided to build this wall, not just to give a good support for the structure but also to provide a place for the Sunday School. The wall used to be stained glass just like the dome.

Q : Can we see it?

A : I wish we can show it. When the stained glass was replaced, it was stored away for a while. And after keeping it without knowing what to do with it, they just announced to the congregation for whoever wanted a piece of the old period to just take it away. So pieces of our history just literally walked out the door. But you can still enjoy the dome.

Q : So pretty in the sunlight.

A: Yes.

Q : Thank you for giving us the tour.

A : Your welcome!

Free tour was provided by San Diego Architecture, because every building has a story. What’s your story?

#field trip #alternative education #travel #worldschool #interview project #Callousthenics Wings #architecture #meet the expert #San Diego history #bankers hill #unschool #studyblr #San Diego OH! Days.#design learning

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davidisen · 8 years ago

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NYC Music I Like June 14-20

...trad jazz, Gypsy, swing, bluegrass, choro etc. w/ folk roots & virtuoso ensemble playing... Explanation/disclaimer.

[Caution! Please verify with musician, venue, etc., before going. Send updata here.]

Allied music listings with overlapping tastes: Jim's Roots and Blues Calendar. Eileen's Lindy Blog - This Week in Swing.

This Week

Wednesday, June 14, 5:30 PM: David Ostwald's Louis Armstrong Eternity Band. Birdland (Most Wednesdays.) 7 PM: Bob Dylan & His Band. Capitol Theatre, Port Chester NY. Info/tix. 7 PM: Gordon's Grand Street Stompers. Delilah.

Thursday, June 15, 7 PM: Bob Dylan & His Band. Capitol Theatre, Port Chester NY. Info/tix. 8 PM: Dr. John (piano), Henry Butler (piano). The Town Hall. Tix. 9 PM: Gypsy jazz jam, Fada. (Most Thursdays.)

Friday, June 16, 7:30 PM: Margi Gianquinto (vocals), Vinny Raniolo (guitar), Mike Karn (bass). J House, Riverside CT. 7:30 & 9:30 PM: Barry Harris Trio. Dizzy's. 9 PM: Madison McFerrin. Rockwood One. 10 PM: Svetlana w/ Seth Weaver Big Band. Zinc Bar. 10:30 PM: Fridays at Mona's. Mona’s, 14th & Avenue B.

Saturday, June 17, 4:30 AM: Paul Winter's 22nd Annual Sunrise Concert for the Summer Solstice w/ Paul (soprano sax), Eugene Friesen (cello), Paul McCandless (oboe, English horn, bass clarinet), Jeff Holmes (piano), Tim Brumfield (on the Cathedral's majestic Aeolian-Skinner pipe organ). Cathedral of St. John The Divine, 112th St. Info/tix. 1 PM: Garden Party Quartet frequently with Emily Asher (trombone). (Most Saturdays.) Fraunces Tavern. 6 PM: Sean Cronin (bass, vocals) & Very Good. June residency, Barbes. 7:30 & 9:30 PM: Barry Harris Trio. Dizzy's. 8 PM: Mamie Minch (guitar, vocals) and Her Business. Barbes. 8 PM: Eddie Barbash (sax) w/ Joe Saylor (drums), Ibanda Ruhumbika (tuba). The Roxy. 10:30 PM: Svetlana (vocals). Summer Swing. The Django.

Sunday, June 18, 4 PM: No Stride Piano Jam This Sunday. 7:30 & 9:30 PM: Barry Harris Trio. Dizzy's. 8 PM: The EarRegulars usually w/ Jon-Erik Kellso (cornet), others. The Ear. (Most Sundays.) 8 PM: Glenn Crytzer Trio w/ Hannah Gill. Blacktail. (Most Sundays.) 9 PM: Stephane Wrembel & his band. Barbes. 10 PM: Baby Soda Jazz Band w/ Jared Engel (banjo), others. St. Mazie. (Most Sundays.) 10 PM: Irish (and more) session hosted by Tony DeMarco (fiddle). 11th Street Bar. (Most Sundays.)

Monday, June 19, 7 PM: Raphael McGregor (lap steel guitar) and, probably, friends, takes the Brain Cloud slot. Barbes. (Most Mondays.) 7 PM: Evan Christopher's Clarinet Road w/ Evan (clarinet), Ehud Asherie (piano), others. The Falcon, Marlboro NY. 7 PM: The Glenn Crytzer Orchestra w/ Glenn (guitar, tenor banjo, & vocals) w/ regulars such as Sam Hoyt (cornet), Mike Davis (cornet), Jason Prover (cornet), Joe McDonough (trombone), Matt Musselman (trombone), Jay Rattman (reeds), Matt Koza (reeds), Dan Block (reeds), Ricky Alexander (reeds), Jesse Gelber (piano), Ian Hutchison (bass), Andrew Millar (drums), Hannah Gill and Dandy Wellington (vocals, alternating weeks). Kola House, Chelsea. (Most Mondays.) 8 PM: Vince Giordano & his Nighthawks, with an array of the best traditional jazz musicians in New York, Iguana. (Most Mondays). 8 & 10:30 PM: Hot Sardines, June residency. The Blue Note. (Every Monday in June.) 9 PM: Svetlana & The Delancey 5 - Svetlana (vocals), Jon Weber (piano), Mike Hashim (reeds), Charlie Caranicas (cornet), Rob Garcia (drums), Endea Owens (bass). Back Room Speakeasy - 102 Norfolk Street. (Most Mondays.) 10 PM: Mona’s Bluegrass Jam, Mona’s, 14th & Avenue B (Most Mondays.) 10 PM: Terry Waldo & The Rum House Jass Band often w/ Terry (piano), Jon-Erik Kellso (cornet), Jim Fryer (trombone), Eddy Davis (tenor banjo) and frequently Dan Levinson (clarinet) & Molly Ryan (vocals). The Rum House. (Most Mondays.) 10 PM: Jim Campilongo Trio w/ Jim (electric guitar), Chris Morrissey (bass) & Josh Dion (drums). Rockwood Two.

Tuesday, June 20, 7:30 PM: That’s Entertainment: Dietz and Schwartz and Friends, hosted by KT Sullivan, w/ Margi Gianquinto, Jon Weber, many others. Weill Recital Hall. Info/tix. 8 PM: Vince Giordano & his Nighthawks, with an array of the very best traditional jazz musicians in New York, Iguana. (Most Tuesdays). 8 PM: Mona's Trad Jazz Jam 10th Anniversary Bash. Hosted by Mona's Hot Four with loads of special guests. DROM. 9:30 PM: Ryan Slatko Trio w/ Ryan (piano), Alex Claffy (bass), Ari Hoenig (drums) & special guest Gabe Terraccino (violin). Pete's Candy Store. 10:00 PM: Michael Daves (guitar). Rockwood One. (Most Tuesdays.) 10 PM: Svetlana & The Delancy Band. Brooklyn Speakeasy at Bedford Hall, 1177 Bedford Avenue, Brooklyn. (Most Tuesdays.) 11 PM: Trad Jazz Jam (10th Anniversary After-Party) hosted by Mona’s Hot Four. The Hot Four is Dennis Lichtman (clarinet, etc.), Gordon Webster (piano), Nick Russo (guitar, banjo) & Jared Engel (bass), plus many special guests. Mona’s, 14th & Avenue B. (Most Tuesdays.)

Future

June 23, 7:30 PM: Margi Gianquinto (vocals), Sam Kulok (guitar), Mike Karn (bass). J House, Riverside CT.

June 24, 11 PM: Jon Davis (piano). Mezzrow.

June 25, 5:45 PM: Terry Waldo's Gotham City Band. Fat Cat.

June 29, 8:30 PM: Henry Butler (piano). Bar LunAtico.

June 30, 6 PM: Midsummer Night Swing Dance w/ Margi & the Dapper Dots w/ Margi Gianquinto (vocals), Jon Weber (piano), John Merrill (guitar), Tal Ronen (bass), Chris Byars (clarinet, sax, flute), Gordon Au (cornet), Chris Gelb (drums), Fernando Garcia (percussion). Damrosch Park. Info/tix. 8:30 PM: Sam Reider & Future Folk Musik w/ Sam (accordion), Eddie Barbash (sax), Alex Hargreaves (violin), Jeff Picker (bass), Gabe Schnider (guitar). Bar LunAtico.

July 1, 5 PM: Vince Giordano & The Nighthawks, Catherine Russell & her most excellent band, Stephane Wrembel & band, The Avalon Jazz Band w/ Tatiana Eva-Marie (vocals), Adrien Chevalier (violin), Aurora Nealand & The Royal Roses, and more. And even more. Central Park Summer Stage. Info. 7:30 PM: Hilary Gardner (vocals) w/ Luca Santaniello & friends. The Django at The Roxy.

July 4, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Veronica Swift (vocals). Birdland.

July 5, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Veronica Swift (vocals). Birdland.

July 6, 8 PM: Julien Labro (accordion), Olli Soikkeli (guitar), Jorge Roeder (bass), Colin Stranahan (drums). Cornelia Street Cafe.8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Grace Kelly (sax). Birdland.

July 7, 7 PM: 8 PM: Julien Labro (accordion), Olli Soikkeli (guitar), Jorge Roeder (bass), Colin Stranahan (drums). Shanghai Jazz, Madison CT. 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Grace Kelly (sax). Birdland.

July 8, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Jazzmeia Horn (vocals). Birdland.

July 9, 9 PM: Julien Labro (accordion), Olli Soikkeli (guitar), Edward Perez (bass), Colin Stranahan (drums). Barbes. 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Jazzmeia Horn (vocals). Birdland.

July 12, 9 PM: Pokey LaFarge. Bowery Ballroom. Info/tix.

July 15, 6 PM: Veronica Swift (vocals). Birdland.

July 22, 6 PM: Veronica Swift (vocals). Birdland.

July 23, 7 PM: Early Roman Kings: The Music of Bob Dylan w/ Tony Trischka (banjo, pedal steel), Stash Wyslouch (guitar, vocals), Sean Trischka (drums, vocals), Jared Engel (bass). Joe’s Pub.

July 27, 8 PM: The Preservation Hall Jazz Band. Ridgefield Playhouse, Ridgefield CT.

July 28, 8 PM: The Preservation Hall Jazz Band. The Space at Westbury Theater, Westbury, NY. Tix.

July 29, 6 PM: Veronica Swift (vocals). Birdland.

August 3, Punch Brothers. Beacon Theatre. Tix.

August 19, Noon until 10 PM: Morristown Jazz & Blues Festival featuring Vince Giordano & The Nighthawks, Bucky Pizzarelli & more. Morristown NJ village green. Details.

September 13, Chris Thile & Brad Meldhau. Town Hall. Tix on sale Friday, Apr 7.

September 27, 7:30 PM: Seu Jorge performs The Life Aquatic, a tribute to David Bowie. The Beacon Theatre. Tix.

October 13-15, Jeff & Joel's House Party, Branford CT. Info.

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homerik · 8 years ago

Photo

This tower houses a very special instrument: the Aeolian Skinner organ. This 12,000-pipe organ was used on the track "An Angel of Darkness". #bestof2017metal #epicmetal #classicalmusic #neoclassicalmetal #organ #pipeorgans (at The Riverside Church in the City of New York)

#epicmetal #organ #neoclassicalmetal #classicalmusic #pipeorgans #bestof2017metal

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openingnightposts · 10 months ago

Link

#Beethoven #ChoralMusic #DavidBriggs #EdwardAKliszus #HeatherPetrie #JoshuaBlue #KarenP.Thomas #KentTritle #Mahler #OratorioSocietyofNewYork #St.Bart's #SusannaPhillips #TylerDuncan

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davidisen · 8 years ago

Text

NYC Music I Like June 7-13

...trad jazz, Gypsy, swing, bluegrass, choro etc. w/ folk roots & virtuoso ensemble playing... Explanation/disclaimer.

[Caution! Please verify with musician, venue, etc., before going. Send updata here.]

Allied music listings with overlapping tastes: Jim's Roots and Blues Calendar. Eileen's Lindy Blog - This Week in Swing.

This Week

Wednesday, June 7, 5:30 PM: David Ostwald's Louis Armstrong Eternity Band. Birdland (Most Wednesdays.) 8 PM: Andy Statman Trio. Barbes. 8:30 & 11 PM: Nicki Parrott Trio w/ Nicki (bass & vocals), John Dimartino (piano) and Alvin Atkinson (drums), plus special guest Ken Peplowski (clarinet). Birdland. 9 PM: Emily Asher's Garden Party. Radegast. 11 PM: Avalon Jazz Band hosts Hot Jazz & Gypsy Jam. The Keep. (Most Wednesdays.)

Thursday, June 8, 7:30 PM: Hot Jazz Jumpers w/ Nick Russo (guitar, banjo), others. Lounsbury House, Ridgefield CT. 8 PM: The Blacktail Songbirds, frequently w/ Molly Ryan (vocals), Dan Levinson (reeds), Mike Davis (cornet), Terry Waldo (piano). Blacktail. (Most Thursdays.) 8:30 PM: Gene Bertoncini (guitar) and Josh Marcum (bass). Ryan's Daughter, upstairs, 350 E. 85th Street between 1st and 2nd Avenues. (Most Thursdays.) 9 PM: Gypsy jazz jam, Fada. (Most Thursdays.) 8:30 & 11 PM: Nicki Parrott Trio w/ Nicki (bass & vocals), John Dimartino (piano) and Alvin Atkinson (drums), plus special guest Ken Peplowski (clarinet). Birdland. 9 PM: Jason Prover & his Sneak Thievery Orchestra. Radegast.

Friday, June 9, 7 PM: Hot Jazz Jumpers w/ Nick Russo (guitar, banjo), others. BSP Kingston, Kingston NY. Info. 7:30 PM: Margi Gianquinto (vocals), Chris Flory (guitar), Tal Ronen (bass). J House, Riverside CT. 9 PM: Ghost Train Orchestra, 10th Anniversary. Jalopy. 9 PM: Madison McFerrin. Rockwood One. 10:30 PM: Fridays at Mona's. Mona’s, 14th & Avenue B.

Saturday, June 10, 11:30 AM: Tara O'Grady Quartet w/ Tara (vocals), Michael Howell (guitar), David Shaich (bass), Michael Hashim (sax). Tanner Smiths Tipsy Tea Jazz Brunch. (Most Saturdays.) 12:30 PM: Joel Forrester (piano). Cafe Loup. (Note: Check w/ venue.) 1 PM: Garden Party Quartet frequently with Emily Asher (trombone). (Most Saturdays.) Fraunces Tavern. 2 PM: Block party w/ Cynthia Sayer (banjo), Scott Ricketts (cornet), Gabe Terracciano (violin), Matt Quinones (bass), John Bianchi (reeds), Richard Eagan (washboard). 299 14th Street, Park Slope, Brooklyn between Fifth and Sixth Avenues. 6 PM: Veronica Swift (vocals). Birdland. 6 PM: Sean Cronin (bass, vocals) w/ Adam Brisbin (guitar), others. June residency, Barbes. 7 PM: Stephane Wrembel & his band. DROM. 8 PM: Jason Prover & his Sneak Thievery Orchestra. The Wooly Public.

Sunday, June 11, 11:30 AM: Tara O'Grady Quartet w/ Tara (vocals), Michael Howell (guitar), David Shaich (bass), Dan Pratt (sax). Tanner Smiths Tipsy Tea Jazz Brunch. (Most Sundays.) Noon: Megg Ryan Jass Band w/ Sweet Megg (vocals, guitar), Ryan Weisheit (reeds). House of Yes. (Most Sundays.) 1:30 PM: Koran Agan (guitar), others. Radegast. (Most Sundays.) 5 PM: Roda de Choro w/ Regional de NY - the genuine roots of Brazilian music w/ Regional de NY. Beco, Williamsburg. 6 PM: Jim Campilongo Trio w/ Jim (electric guitar), Tony Scherr (bass) & Josh Dion (drums). 55 Bar. 7 PM: Sergio Krakowski (percussion), others. Barbes. 8 PM: The EarRegulars usually w/ Jon-Erik Kellso (cornet), others. The Ear. (Most Sundays.) 8 PM: Glenn Crytzer Trio w/ Hannah Gill. Blacktail. (Most Sundays.) 9 PM: Stephane Wrembel & his band. Barbes. 10 PM: Baby Soda Jazz Band w/ Jared Engel (banjo), others. St. Mazie. (Most Sundays.) 10 PM: Irish (and more) session hosted by Tony DeMarco (fiddle). 11th Street Bar. (Most Sundays.) 10:30 PM: Gabe Terracciano Quartet w/ Gabe (violin), Ryan Slatko (piano), Alon Near (bass), Ken Yichicawa (drums). Pete's Candy Store.

Monday, June 12, 7 PM: The Brain Cloud, w/ full band, to wit, Tamar Korn (vocals), Dennis Lichtman (clarinet, mandolin), Raphael McGregor (lap steel guitar), Kevin Dorn (drums), Skip Krevins (guitar), Andrew Hall (bass). Barbes. (Most Mondays.) 7 PM: The Glenn Crytzer Orchestra w/ Glenn (guitar, tenor banjo, & vocals) w/ regulars such as Sam Hoyt (cornet), Mike Davis (cornet), Jason Prover (cornet), Joe McDonough (trombone), Matt Musselman (trombone), Jay Rattman (reeds), Matt Koza (reeds), Dan Block (reeds), Ricky Alexander (reeds), Jesse Gelber (piano), Ian Hutchison (bass), Andrew Millar (drums), Hannah Gill and Dandy Wellington (vocals, alternating weeks). Kola House, Chelsea. (Most Mondays.) 7 PM: Sweet Megg & The Wayfarers. Bierhaus NYC. 8 PM: Vince Giordano & his Nighthawks, with an array of the best traditional jazz musicians in New York, Iguana. (Most Mondays). 8 PM: Sweet Megg & The Wayfarers. The Belfry. (Most Mondays.) 8:00 PM: Tara O'Grady & the Black Velvet Band w/ Tara (vocals), Vinny Raniolo (guitar), David Shaich (bass), Matt Mancuso (fiddle), Austin Walker (drums). Tanner Smiths Monday Moonshine Jam. Swing dancers welcome. (Most Mondays.) 8 & 10:30 PM: Hot Sardines, June residency. The Blue Note. (Every Monday in June.) 9 PM: Svetlana & The Delancey 5 - Svetlana (vocals), Jon Weber (piano), Mike Hashim (reeds), Charlie Caranicas (cornet), Rob Garcia (drums), Endea Owens (bass). Back Room Speakeasy - 102 Norfolk Street. (Most Mondays.) 10 PM: Mona’s Bluegrass Jam, Mona’s, 14th & Avenue B (Most Mondays.) 10 PM: Terry Waldo & The Rum House Jass Band often w/ Terry (piano), Jon-Erik Kellso (cornet), Jim Fryer (trombone), Eddy Davis (tenor banjo) and frequently Dan Levinson (clarinet) & Molly Ryan (vocals). The Rum House. (Most Mondays.) 10 PM: Grant Gordy & Ross Martin, guitar duets. Rockwood One. 10 PM: Jim Campilongo Trio w/ Jim (electric guitar), Tony Scherr (bass) & Josh Dion (drums). Rockwood Two.

Tuesday, June 13, 6 PM: Mike Davis & the New Wonders. Cambria Hotel Rooftop. 7 PM: Bob Dylan & His Band. Capitol Theatre, Port Chester NY. Info/tix. 7:30 & 9:30 PM: Peter & Will Anderson (reeds) Quintet. Dizzy's. Info/tix. 8 PM: Barbara Rosene (vocals), Conal Fowkes (piano). Mezzrow. 8 PM: Vince Giordano & his Nighthawks, with an array of the very best traditional jazz musicians in New York, Iguana. (Most Tuesdays). 10 PM: Mama Juke w/ Amos Rose, Elijah Bridges, Jon Wert, and Pete O'Neill. East Village Social, St Marks @ Ave A. (Most Tuesdays.) 10:00 PM: Michael Daves (guitar). Rockwood One. (Most Tuesdays.) 10 PM: Svetlana & The Delancy Band. Brooklyn Speakeasy at Bedford Hall, 1177 Bedford Avenue, Brooklyn. (Most Tuesdays.) 11 PM: Trad Jazz Jam hosted by Mona’s Hot Four. The Hot Four house band is usually Dennis Lichtman (clarinet, etc.), Gordon Webster (piano), Nick Russo (guitar, banjo) & Jared Engel (bass). This week, the ever popular TBA sits in on bass. Mona’s, 14th & Avenue B. (Most Tuesdays.)

Future

June 14, 7 PM: Bob Dylan & His Band. Capitol Theatre, Port Chester NY. Info/tix. 7 PM: Gordon's Grand Street Stompers. Delilah.

June 15, No Terry Waldo Blacktail this Thursday. 7 PM: Bob Dylan & His Band. Capitol Theatre, Port Chester NY. Info/tix. 8 PM: Dr. John (piano), Henry Butler (piano). The Town Hall. Tix.

June 16, 7:30 PM: Margi Gianquinto (vocals), Vinny Raniolo (guitar), Yoshi Waki (bass). J House, Riverside CT.

June 17, 4:30 AM: Paul Winter's 22ndAnnual Sunrise Concert for the Summer Solstice w/ Paul (soprano sax), Eugene Friesen (cello), Paul McCandless (oboe, English horn, bass clarinet), Jeff Holmes (piano), Tim Brumfield (on the Cathedral's majestic Aeolian-Skinner pipe organ). Cathedral of St. John The Divine, 112th St. Info/tix.

June 18, 4 PM: The Stride Piano Jam w/ Terry Waldo & Ehud Asherie. Fat Cat.

June 19, 7 PM: Evan Christopher's Clarinet Road w/ Evan (clarinet), Ehud Asherie (piano), others. The Falcon, Marlboro NY. 10 PM: Jim Campilongo Trio w/ Jim (electric guitar), Chris Morrissey (bass) & Josh Dion (drums). Rockwood Two.

June 20, 7:30 PM: That’s Entertainment: Dietz and Schwartz and Friends, hosted by KT Sullivan, w/ Margi Gianquinto, Jon Weber, many others. Weill Recital Hall. Info/tix. 8 PM: JUNE 20 - Mona's Trad Jazz Jam 10th Anniversary Bash. Hosted by Mona's Hot Four with loads of special guests. DROM. 11 PM til stupid-late: Mona's 10th Anniversary after-party. Mona's, 14th & B.

June 23, 7:30 PM: Margi Gianquinto (vocals), Sam Kulok (guitar), Mike Karn (bass). J House, Riverside CT.

June 25, 5:45 PM: Terry Waldo's Gotham City Band. Fat Cat.

VINCE GIORDANO & THE NIGHTHAWKS *** *** CATHERINE RUSSELL *** *** STEPHANE WREMBEL *** ** TATIANA EVA-MARIE & THE AVALON JAZZ BAND ** *** AURORA NEALAND & THE ROYAL ROSES *** *** KAT EDMONSON *** *** NICOLLE ROCHELLE *** *** DEWITT FLEMING JR **

July 6, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Grace Kelly (sax). Birdland.

July 7, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Grace Kelly (sax). Birdland.

July 9, 8:30 & 11 PM: Django Reinhardt All Stars w/ Samson Schmitt (guitar), Ludovic Beeier (accordion), Pierre Blanchard (violin), Doudou Cuillerier (rhythm & scat vocals), Antolio Licusati (bass). Special Guest, Jazzmeia Horn (vocals). Birdland.

July 12, 9 PM: Pokey LaFarge. Bowery Ballroom. Info/tix.

July 15, 6 PM: Veronica Swift (vocals). Birdland.

July 22, 6 PM: Veronica Swift (vocals). Birdland.

July 23, 7 PM: Early Roman Kings: The Music of Bob Dylan w/ Tony Trischka (banjo, pedal steel), Stash Wyslouch (guitar, vocals), Sean Trischka (drums, vocals), Jared Engel (bass). Joe’s Pub.

July 27, 8 PM: The Preservation Hall Jazz Band. Ridgefield Playhouse, Ridgefield CT.

July 28, 8 PM: The Preservation Hall Jazz Band. The Space at Westbury Theater, Westbury, NY. Tix.

July 29, 6 PM: Veronica Swift (vocals). Birdland.

August 3, Punch Brothers. Beacon Theatre. Tix.

August 19, Noon until 10 PM: Morristown Jazz & Blues Festival featuring Vince Giordano & The Nighthawks, Bucky Pizzarelli & more. Morristown NJ village green. Details.

September 13, Chris Thile & Brad Meldhau. Town Hall. Tix on sale Friday, Apr 7.

September 27, 7:30 PM: Seu Jorge performs The Life Aquatic, a tribute to David Bowie. The Beacon Theatre. Tix.

October 13-15, Jeff & Joel's House Party, Branford CT. Info.

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0 notes