#San Francisco Music Box Company
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rainedragon · 1 year ago
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At the thrift store where I usually find my lustreware china they had a whole collection of San Francisco Music Box company carousel horses. I picked out my 3 favorites to bring home ♡
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indianasolo221 · 2 years ago
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Guess what came in the mail...
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It actually came a couple days ago but I just got to posting it now. She's a little dusy and rough around the edges but I love her!
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faded-florals · 2 years ago
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Happy Phantom Merch Monday! ✹
Some of you may be surprised that this particular music box by San Francisco Music Box Company is in my collection! Of course it plays “Music of the Night”, and I actually think it’s quite beautiful (mostly because their faces are fairly well done compared to a few others I have seen and that are in my collection) though I wish that they both had less of a serene expression. I’m not sure if this sculpture was meant to portray an actual moment of the musical or some sort of alternate timeline, but I am sure that many of you Phans love this one just the way it is!
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nightmarereverie · 8 months ago
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San Francisco Music Box Company, “Promise Of Love” Music Box
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ginathethundergoddess · 22 days ago
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I had a dream about a music box that played "binks no sake" or "we are" and had the merry and sunny sailing around each other up and down in a meteor shower and i had such a visceral need to own this object that i started sketching designs.
The music box had metal filigree and was made of wood with inlaid mother of pearl shell for the panels. I'm thinking of adding the silhohettes of the straw hat crew to the panels on the side. The filigree is gold and silver, the base material wood. The models of the ship are tiny and either porcelain or metal but they rock back and forth and move up and down as they sail around each other. The waves also move when the box is wound.
As for the coloration I'm thinking it was enamel in my dream? Think the San Francisco Music Box Company style. It' was very intricate in my dream and made of really expensive materials-- not like cheap plastic.
I will pay money for this IRL i desperately want this to be a real thing that i can own. I was so angry when i woke up and this was not on my knick knack shelf.
More art to come probably.
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beardedmrbean · 5 months ago
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Recently, the curtain dropped on hiding infamous “order,” “service,” and “convenience” fees. A new state law requires all businesses -- especially ticket sellers -- to now disclose your full price (minus tax) up front. No. More. Hidden. Fees. 
“There’s no reason for hidden fees, other than to lure in potential customers with prices that simply are not true,” said California Attorney General Rob Bonta.  
The new law kicked in July first. So, are ticket sellers still hiding fees? 
NBC Bay Area just spot-checked more than 25 San Francisco Bay Area venues. We followed the normal public process of purchasing tickets for recent events, knowing the new state law says there should be no price surprises. 
So, what did we find? 
Many popular ticket sellers like the Giants, Shoreline Amphitheatre, SAP Center, the San Francisco Symphony, and Concord Pavilion were disclosing all fees up front.
But several others were
 not. 
For example: Stanford’s popular Frost Amphitheater advertised $40 for a lawn seat to enjoy a summer quintet. But at checkout, a $12 “online processing” fee suddenly appeared. Our $40 seat became $52.
The California Attorney General’s office told us that this kind of price advertising is not compliant with the new state law. 
We saw similar fees still tacked onto the end of ticket purchases at places like: Symphony San Jose, California Theater in San Jose, San Francisco's The Midway venue, the Oakland Ballers, and Lyric Theatre in San Jose. 
At checkout, Lyric's website was tacking on a $2 fee for its summer festival, which includes Fiddler on the Roof, a Cole Porter concert, and the comedic musical Red Mill. So, we contacted Lyric. 
“I was completely unaware of it until you brought it up to me,” said box office manager Chris Frye. “We strive to be compliant and straightforward. And be sure everybody knows what they’re getting
 and what they’re paying.” 
Frye says he immediately looked into the law. 
“Originally, I thought I had to change our whole pricing structure," he said. "But no, I can just change the wording and make it transparent and make sure how much they are going to pay from beginning to end.”
And he did. The company now discloses the $2 fee, up front. Frye even made a special sign for the first Fiddler performance.
“We are now, thankfully, compliant,” Frye said.  
What about the other places we mentioned? We contacted them all and showed them the hidden fees we found. 
Stanford Live just updated its ticketing – so you see your full ticket price up front. 
The Oakland Ballers also just updated their website.
San Francisco’s Midway venue did not respond to us, but its website did change.
California Theater in San Jose said: “We are in communication with our clients to make sure that they are aware of the law change and that they address all compliance needs in their ticketing.”
Symphony San Jose said: “We are actively working with our ticketing platform to ensure the fees are displayed correctly in compliance with the law.”
If venues and promoters don’t start disclosing fees up front, don’t expect a big law enforcement crackdown. The law wasn’t written for that kind of accountability. Instead, it’s up to you. The new law gives ticket buyers who find hidden fees a green light to sue the ticket seller for at least $1,000, plus legal fees. 
The law’s author, State Senator Bill Dodd, told NBC Bay Area he expects that kind of cash penalty will motivate ticket sellers to follow the law.
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white-cat-of-doom · 1 year ago
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In honour of the 25th anniversary of the release of CATS (1998) in the UK today, we all need some Jemima in our lives.
The figurine was made by the San Francisco Music Box Company shortly after the release of the film, and features a music box inside the base that plays Memory (the standard for all CATS music boxes made by the company).
The figurine is made in the likeness of Veerle Casteleyn who played Jemima in the film (and also in a few other productions before and after), with all the finer details hand painted, including the base.
These music boxes are all so much fun!
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jpbjazz · 3 months ago
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LÉGENDES DU JAZZ
JOHN HANDY, UN MULTI-INSTRUMENTISTE MÉCONNU
“John just sounded so good. He’ll give you that old-school authentic thing, and when he plays a ballad, it’s hard to replicate if you don’t come from that era. But he’s also very modern and can be abstract in his thinking. A lot of his music is very free and open and forward-thinking.” 
- Joe Warner
NĂ© le 3 fĂ©vrier 1933 Ă  Dallas, au Texas, John Richard Handy III a d’abord frĂ©quentĂ© la St. Peter’s Academy de Dallas avant de dĂ©mĂ©nager Ă  Oakland avec sa famille Ă  l’ñge de quinze ans. À Oakland, Handy avait Ă©tudiĂ© au McClymonds High School. À l’époque, Handy avait dĂ©jĂ  appris Ă  jouer de la clarinette. Amateur de boxe, Handy Ă©tait aussi champion poids plume, mĂȘme s’il Ă©tait aveugle d’une oeil et avait disloquĂ© un de ses pouces dans un combat.
Également passionnĂ© de jazz, Handy avait l’habitude de s’endormir sur la musique de Charlie Parker pour Ă©touffer le bruit des soirĂ©es que son beau-pĂšre organisait pour faire la promotion de son commerce illĂ©gal d’alcool. Parmi les camarades de classes de Handy Ă  l’époque, on remarquait des membres de la famille Escovedo ainsi que le violoniste Michael White. Dans le cadre de ses Ă©tudes, Handy avait Ă©galement fait la rencontre du futur athlĂšte Ă©toile Bill Russell, qui l’avait conviĂ© Ă  participer Ă  un tournoi de basketball. “I won the first game — of 15’’, avait expliquĂ© plus tard Handy en riant.
AprĂšs avoir dĂ©couvert que l’école possĂ©dait un excellent groupe musical, Handy s’était procurĂ© une anche et une embouchure et avait appris Ă  jouer du saxophone alto. De fait, Handy Ă©tait tellement talentueux qu’il avait participĂ© Ă  sa premiĂšre performance une semaine plus tard. Il prĂ©cisait: “That was $5, and that became my way of making money.’’ Il avait ajoutĂ©:  “Most of my gigs were in the East Bay. I was 17 before I went to San Francisco and discovered Bop City.”
À l’époque, Handy ne savait pas lire la musique et avait appris Ă  jouer du saxophone alto en autodidacte à partir de 1949. Il poursuivait: “I taught myself how to read music, and if I heard something on the radio, I could play it,When Louis Jordan was popular, I learned some of his solos.”
DÉBUTS DE CARRIÈRE
ParticuliĂšrement influencĂ© par le haut registre du saxophoniste Earl Bostic, Handy Ă©tait encore adolescent lorsqu’il avait participĂ© Ă  une jam session Ă  Bop City avec des membres de l’orchestre de Duke Ellington et du groupe de Gerald Wilson. Il avait aussi jouĂ© avec les saxophonistes Teddy Edwards et Frank Morgan. AprĂšs s’ĂȘtre inscrit au San Francisco State College, Handy avait fait ses dĂ©buts sur disque en 1953 avec le guitariste Lowell Fulson. MobilisĂ© et envoyĂ© en CorĂ©e oĂč la guerre venait tout juste de se terminer, Handy avait passĂ© deux ans dans l’armĂ©e. Sa derniĂšre affectation Ă©tait au Presidio de San Francisco.
AprĂšs s’ĂȘtre mariĂ©, Handy avait eu un fils, John Handy IV, qui Ă©tait devenu batteur. AprĂšs sa dĂ©mobilisation, Handy Ă©tait retournĂ© au San Francisco State College. MĂȘme si le jazz ne faisait pas encore partie du programme du dĂ©partement de musique, Handy avait fait partie de groupes aux cĂŽtĂ©s d’autres passionnĂ©s de jazz. Comme l’avait expliquĂ© Handy plus tard, Ă  l’extĂ©rieur du campus, “some of the best people in jazz would come to Bop City. But by the mid-’50s, they were letting people in that would ruin it, because they didn’t know crap about music and didn’t care to know.” Handy avait mĂȘme dĂ©clinĂ© une invitation de Charles Mingus pour venir jouer avec son groupe en 1958, car le contrebassiste avait une trĂšs mauvaise rĂ©putation auprĂšs des musiciens qui, selon ses dires, ‘’complained a lot about Charles, but not in his company. They said he was a real asshole.”
Handy se produisait au Five Spot en 1958 avec le saxophoniste Frank Foster et le trompettiste Thad Jones, deux vedettes de l’orchestre de Count Basie, lorsqu’il avait Ă©tĂ© remarquĂ© par Mingus. Le contrebassiste avait Ă©tĂ© tellement impressionnĂ© par le solo d’Handy sur le standard “There Will Never Be Another You” qu’il Ă©tait sorti du club en criant “Bird’s back! Bird’s back!” (Charlie Parker Ă©tait mort trois ans auparavant). AprĂšs s’ĂȘtre calmĂ©, Mingus, qui devait se produire au club quelques semaines plus tard, avait fait venir Handy au bar pour lui faire une offre.
En dĂ©pit de l’obstruction d’un de ses professeurs particuliĂšrement antipathique, Handy avait finalement dĂ©crochĂ© son diplĂŽme en 1958 Ă  l’ñge de trente ans. Il expliquait: “I had ‘incompletes’ on my transcript that I had already completed and they never gave me the grade. This particular guy said in essence ‘You’re too raw.’ I took every took every course they had to get a B.A. and I finally graduated at 30.”
AprĂšs s’ĂȘtre installĂ© Ă  New York, Handy s’était joint au groupe de Mingus. MĂȘme s’il n’avait pas fait partie du groupe que durant un an, le sĂ©jour de Handy avait contribuĂ© Ă  changer l’évolution du jazz, notamment dans le cadre des albums Mingus Ah Um et Mingus Dynasty, dans lesquels il avait participĂ© Ă  l’enregistrement des classiques “Better Git It in Your Soul’’, Goodbye Pork Pie Hat’’ (un Ă©loge au saxophoniste Lester Young qui venait de mourir) et “Fables of Faubus’’, une dĂ©nonciation du gouverneur sĂ©grĂ©gationniste de l’Arkansas, Orval Faubus. Tout aussi marquant avait Ă©tĂ© l’album Blues and Roots, dans lequel Handy avait fait Ă©quipe avec Jackie McLean au saxophone alto. MĂȘme si ces albums avaient Ă©tĂ© reconnus comme des classiques dĂšs leur parution, Handy avait particuliĂšrement excellĂ© sur l’album Jazz Portraits: Mingus in Wonderland, un enregistrement en concert mettant en vedette le pianiste de San Francisco, Richard Wyands. AprĂšs avoir livrĂ© une performance au Five Spot, le quintet de Mingus s’était dĂ©placĂ© plus loin sur la mĂȘme rue pour se produire Ă  la Nonagon Art Gallery oĂč il avait enregistrĂ© quatre piĂšces d’une durĂ©e totale de quarante-cinq minutes avec le saxophoniste tĂ©nor  Booker Ervin (le seul autre musicien Ă  avoir participĂ© Ă  tous les albums de Handy avec Mingus). AprĂšs le concert, le groupe Ă©tait retournĂ© au Five Spot pour prendre la relĂšve de Sonny Rollins, qui avait fait les frais de l’intermission pendant son absence.
AprĂšs avoir enregistrĂ© quatre albums en un an avec Mingus, Handy Ă©tait retournĂ© Ă  San Francisco oĂč il avait fait ses dĂ©buts au dĂ©but des annĂ©es 1950 au Jimbo’s Bop City et partagĂ© la scĂšne avec de grands noms du jazz comme les saxophonistes Teddy Edwards, Frank Foster et Dexter Gordon. Handy avait aussi commencĂ© Ă  flirter avec le jazz modal, Ă  une Ă©poque oĂč trĂšs peu de ses pairs commençaient Ă  peine à assimiler ce concept. En 1965, Handy avait prĂ©sentĂ© les rĂ©sultats de cette expĂ©rimentation dans le cadre d’un concert prĂ©sentĂ© au Festival de jazz de Monterey, en Californie. L’enregistrement du concert, qui avait Ă©tĂ© publiĂ© par les disques Columbia l’annĂ©e suivante sous le titre Live at the Monterey Jazz Festival, avait mĂ©ritĂ© Ă  Handy deux nominations au gala des prix Grammy pour les piĂšces "Spanish Lady" (dans la catĂ©gorie de la meilleure performance de jazz) et pour sa composition "If Only We Knew". Le quintet de Handy Ă©tait composĂ© Ă  l’époque du violoniste Michael White, du guitariste Jerry Hahn, et d’une section rythmique entiĂšrement canadienne formĂ©e du contrebassiste Don Thompson et du batteur Terry Clarke.
Avec l’aide de sa femme, qui Ă©tait Ă©galement sa gĂ©rante, Handy avait aussi enregistrĂ© un premier disque comme leader en 1959. À l’époque, le vibraphoniste Milt Jackson s’était liĂ© d’amitiĂ© avec Handy et sa femme et leur avait proposĂ© d’habituer dans un de ses appartements situĂ© prĂšs de Harlem. DĂ©crivant ses dĂ©buts Ă  cette Ă©poque, Handy avait commentĂ©: “Most of my gigs were with Charles, but I played the whole summer of ’59 with Randy Weston at the Five Spot. Though Charles and Randy were both mavericks, Randy was more positive.” Handy avait ajoutĂ©: “We played with Randy six nights a week. That’s where my exposure came.’’ 
Handy se produisait au le pianiste Five Spot avec Randy Weston lorsqu’il avait rencontrĂ© la baronne Pannonica de Koenigswarter, une mĂ©cĂšne qui avait Ă©tĂ© la protectrice de Charlie Parker et Thelonious Monk. Handy expliquait:
‘’One of the characters who came in to the Five Spot was the Baroness [Kathleen Annie Pannonica de Koenigswarter]; she came in with Thelonious Monk almost every night. She said, ‘Monk would like to speak to you’ as I’m coming off the bandstand, so I follow him into to kitchen, and Monk was a big man, his hat is almost touching the roof, and he kept walking, never turned around. He kind of looks up, not at me, and says, ‘You play your motherfucking ass off. You think,’ or maybe, ‘You play your motherfucking ass off, you think.’ I’m not sure which one he meant. And then he walked around me and out. I’m still scratching my head.” 
ImpressionnĂ© par le talent d’Handy, Monk lui avait plus tard proposĂ© de faire sa premiĂšre partie Ă  la Jazz Gallery.
Handy avait également fait une tournée européenne avec son groupe en 1961. Par la suite, il avait travaillé comme soliste en SuÚde et au Danemark.
RetournĂ© Ă  San Francisco, Handy avait Ă©tĂ© trĂšs impliquĂ© dans le mouvement des droits civiques. Il avait prĂ©cisĂ©: ‘’I couldn’t sit back, with all I’d gone through, and let somebody fight for me without trying to help my own cause.” À l’époque, des Afro-AmĂ©ricains comme le joueur de baseball Willie Mays des Giants de San Francisco faisaient l’objet d’une discrimination incessante, et Handy avait Ă©tĂ© arrĂȘtĂ© durant une manifestation. Handy expliquait: ‘’I couldn’t sit back, with all I’d gone through, and let somebody fight for me without trying to help my own cause.” Afin de recueillir des fonds pour la cause, Handy avait formĂ© le Freedom Band avec deux jeunes saxophonistes tĂ©nor, Mel Martin et Noel Jewkes. Le trompettiste Eddie Henderson faisait Ă©galement partie du groupe.
À l’époque, Handy se produisait au Both/And Club  sur la rue Divisadero. C’est dans ce club qu’Handy avait entendu pour la premiĂšre fois la chanteuse Faye Carol. La chanteuse avait rencontrĂ© Handy au dĂ©but des annĂ©es 1970 alors qu’elle Ă©tait mariĂ©e au professeur de musique Jim Gamble.
MĂȘme si le climat social Ă©tait plutĂŽt tendu Ă  l’époque, Handy ne se rappelle pas que des incidents raciaux se soient produits dans les clubs de San Francisco ou dans le cadre de ses relations avec l’Union des Musiciens. “You don’t see that in jazz’’, avait expliquĂ© Handy. AprĂšs avoir divorcĂ© de sa premiĂšre femme, Handy s’était mariĂ© avec une femme qu’il avait rencontrĂ©e au Five Spot et qui Ă©tait devenue plus tard chancelier du San Francisco City College. Le couple s’était Ă©ventuellement achetĂ© une maison sur la rue Baker.
En 1963, Handy a travaillĂ© comme soliste sur la CĂŽte Ouest avec des orchestres de musique classique comme le Santa Clara Symphony Orchestra et le San Francisco State College Band. L’annĂ©e suivante, il avait retrouvĂ© Mingus dans le cadre du Festival de Jazz de Monterey, en Californie. En 1966 et 1967, Handy avait fait une tournĂ©e aux États-Unis avec les Monterey All Stars. Il avait Ă©galement participĂ© Ă  l’opĂ©ra The Visitation de GĂŒnther Schuller. En 1968, Handy a fondĂ© un nouveau quartet avec Mike Nock, Michael White et Ron McClure.
Par l’entremise d’anciens camarades de classe du San Francisco College State, Handy avait Ă©tĂ© prĂ©sentĂ© au virtuose de la cithare Ravi Shankar, qui lui avait donnĂ© deux leçons privĂ©es sur la musique indienne. Comme Handy l’avait expliquĂ© plus tard, “And I understood, because when I went to St. Peter’s, we sang Gregorian modal music. And African Americans are very modal. Later, I recorded with Ravi in India.’’
À la fin des annĂ©es 1960, Handy avait Ă©galement collaborĂ© avec Ali Akbar Khan, un pionnier de la sarod, un instrument Ă  cordes d’origine indienne. Andy poursuivait: “Then I got a call to play with [sarodist] Ali Akbar Khan. I went to his house in Marin County, and it was like I’d been playing with him all my life. I booked several concerts with him and paid him half of the ticket sales, though I realized that Indian musicians don’t do what we do. They don’t change keys and can’t play jazz.” Handy avait enregistrĂ© deux albums avec Khan. Zakir Hussain, avec qui il avait jouĂ© sur l’album Karuna Supreme en 1975, lui avait Ă©galement fait cadeau d’un tabla.
La collaboration d’Handy avec Khan avait Ă©ventuellement donnĂ© lieu Ă  l’enregistrement de l’album Karuna Supreme en 1975. À l’époque, Handy tentait de rĂ©aliser une symbiose entre la musique du Nord de l’Inde et les airs de Gospel qui avaient marquĂ©s son enfance avec sa grand-mĂšre. Il expliquait: “I could relate it to the stuff I’d been exposed to in the African American church. At the first rehearsal with Ali Akbar Khan he said ‘Let’s just play,’ and I just understood it. I had met Ravi Shankar. He invited me to a concert in LA and gave me a couple of lessons. I did learn something from it, but I could always play it with my background in the blues.” Handy avait aussi travaillĂ© en 1980 avec Lakshminarayana Subramaniam dans le cadre du groupe Rainbow.
RetournĂ© au San Francisco State College (devenu l’UniversitĂ© de San Francisco State) en 1968, Handy avait repris sa carriĂšre de professeur et avait pris la direction des Ă©tudes de jazz. Conscient d’ĂȘtre l’objet d’une certaine jalousie de la part des professeurs de musique classique, Handy avait commentĂ©: “I know they were jealous of me because I could do what they did but they couldn’t do what I did.”
Comme mentor, Handy avait encouragĂ© la carriĂšre de plusieurs gĂ©nĂ©rations de jeunes musiciens. Lorsque le saxophoniste Hafez Modirzadeh Ă©tait venu enseigner Ă  San Francisco State, Handy l’avait pris sous son aile et l’avait initiĂ© Ă  la musique non-occidentale. Ne tarissant pas d’éloges sur les compositions et les arrangements innovateurs d’Handy, Modirzadeh avait ajoutĂ©:
“It’s something that really connects him to jazz history, to Buddy Bolden and Louis Armstrong. You had to be there to see these people play. There won’t be a technical book by John Handy describing how he does what he does, that fingering and embouchure. It’s mystical, completely John Handy’s, and we’ll never know how he did it.I’ve asked him once or twice, ‘Can I come over and you show me how to do something?’ Very graciously, he’ll say, ‘I’m still working out some things that Charlie Parker did.’”
À l’époque, Handy avait aussi reçu une commande pour composer un Concerto for Jazz Soloist and Orchestra, qui avait Ă©ventuellement Ă©tĂ© interprĂ©tĂ©e par la San Francisco Symphony en 1970. Handy avait Ă©galement enseignĂ© Ă  l’UniversitĂ© de Californie Ă  Berkeley, Ă  l’UniversitĂ© Stanford, au San Francisco Conservatory of Music et au City College de San Francisco. 
La piĂšce-titre de l’album Hard Work (1976) Ă©tait devenue le plus grand succĂšs de la carriĂšre d’Handy. En plus de s’ĂȘtre classĂ©e sur le palmarĂšs Billboard, la piĂšce avait fait partie du rĂ©pertoire des juke box Ă  travers le monde. Toujours en 1976, Handy avait enregistrĂ© un album de jazz-fusion avec le guitariste Lee Ritenour. L’album intitulĂ© Carnival est paru en 1977.
ÉVOLUTION RÉCENTE
Dans les annĂ©es 1980, Handy s’était joint au groupe Bebop and Beyond. BasĂ© Ă  San Francisco, le groupe avait rendu hommage Ă  des pionniers du bebop comme Dizzy Gillespie et Thelonious Monk. Gillespie s’était mĂȘme joint au groupe comme artiste-invitĂ© dans le cadre de l’album qui lui Ă©tait consacrĂ©. Au milieu des annĂ©es 1980, Handy avait Ă©galement participĂ© Ă  une tournĂ©e avec le groupe Mingus Dynasty.
À la fin des annĂ©es 1980, Handy avait formĂ© le groupe John Handy With Class qui le mettait en vedette aux cĂŽtĂ©s de trois chanteuses-violonistes.
RetirĂ© dans sa rĂ©sidence de Hillside aprĂšs avoir Ă©tĂ© victime d’une lĂ©gĂšre attaque, Handy avait continuĂ© se consacrer Ă  la musique. Comme l’avait expliquĂ© sa partenaire de longue date, la chanteuse Faye Carol: “Before Jazz on the Hill, I hadnÂŽt heard anything from John lately, so I was so happy when he said he’d do our [Aug. 13] show.’’ Un autre membre du groupe, le pianiste Joe Warner, avait ajoutĂ©: “I’ve been trying to get the opportunity to work with John since that Yoshi’s gig. And we have a great band for him, with Tarus Mateen on bass, who plays with [pianist] Jason Moran, and Jaz Sawyer, a great drummer I worked with when he was living up here, who’s been in Southern California.”
Multi-instrumentiste souvent sous-estimĂ©, Handy joue Ă  la fois du saxophone alto et tĂ©nor, du saxello, du saxophone baryton, de la clarinette et du hautbois. Il chante Ă©galement Ă  l’occasion. TrĂšs impliquĂ© dans les musiques du monde, Handy avait consacrĂ© sa vie Ă  transformer l’esprit humain par l’entremise de sa musique. Utilisant une instrumentation souvent inusitĂ©e, Handy avait toujours Ă©tĂ© un musicien et compositeur sans compromis qui Ă©chappait Ă  toute Ă©tiquette. Principalement connu pour sa participation Ă  des petits groupes comme les quintets et les quartets, Handy s’était Ă©galement produit avec de grandes formations allant des big bands aux orchestres symphoniques, aux ensembles vocaux et aux chorales.
Comme chanteur, Handy excelle tant dans le blues que le scat et les ballades. Au cours de sa carriĂšre, Handy s’était produit dans les plus grandes salles de concert d’un peu partout sur la planĂšte, dont Carnegie Hall, le Lincoln Center, le Berlin Philharmonic Auditorium et le San Francisco Opera House. Il avait aussi livrĂ© des performances dans les plus importants festivals de jazz du monde, dont le Monterey Jazz Festival, le Newport Jazz Festival, le Playboy Jazz Festival, le Chicago Jazz Festival, le Pacific Coast Jazz Festival et les festivals de Montreux, d’Antibe, de Cannes, de Berlin et de Yubari et Miyasaki au Japon. Tout en continuant de se produire rĂ©guliĂšrement dans les universitĂ©s et les collĂšges, Handy fait Ă©galement de nombreuses lectures sur les aspects techniques, acadĂ©miques, spirituels et crĂ©atifs de la musique.
Parmi les plus rĂ©cents enregistrements d’Handy, on remarque "Centerpiece" (1989), "Excursion in Blue" (1988), ‘’John Handy Live at Yoshi’s Nightspot" (1996) et "John Handy’s Musical Dreamland" (1996). Certains des premiers albums d’Handy ont Ă©tĂ© rĂ©Ă©ditĂ©s sur CD, dont "John Handy: Live at the Monterey Jazz Festival" (1966), "The Second John Handy Album" (1966), "New View" (1967) et "Projections’’ (1968). En plus d’avoir enregistrĂ© avec Sonny Stitt, Handy a enregistrĂ© neuf albums avec le Charles Mingus Jazz Workshop.
Le pianiste Joe Warner, qui avait jouĂ© avec Handy pour la premiĂšre fois au club Yoshi’s de San Francisco une dĂ©cennie plus tĂŽt, avait perdu contact avec le saxophoniste jusqu’à ce qu’il l’entende jouer en juin 2023 au Festival Jazz on the Hill avec le Akira Tana Quartet. On avait aussi remis un Jazz Icon Award à Handy dans le cadre de l’évĂ©nement. Warner poursuivait: “John just sounded so good. He’ll give you that old-school authentic thing, and when he plays a ballad, it’s hard to replicate if you don’t come from that era. But he’s also very modern and can be abstract in his thinking. A lot of his music is very free and open and forward-thinking.” En 2009, l’organisme SF JAZZ a dĂ©cernĂ© Ă  Handy un Beacon Award.
Le fils de Handy, John Richard Handy IV, est devenu batteur, et se produit avec son pĂšre Ă  l’occasion. Handy est Ă©galement le pĂšre du saxophoniste Craig Handy.
©-2024, tous droits rĂ©servĂ©s, Les Productions de l’Imaginaire historique
SOURCES:
GILBERT, Andrew. ‘’At 90, Bay Area Sax Great John Handy Is Still Composing His Legacy.’’ KQED Inc., 2 fĂ©vrier 2023.
‘’John Handy.’’ All About Jazz, 2024.  
‘’John Handy.’’ Wikipedia, 2024.
KALISS, Jeff. ‘’At 90, Saxophonist John Handy Still Puts In the Hard Work.’’ Classical Voice, 1er aoĂ»t 2023.
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dirtydream · 1 year ago
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Phantom of the Opera Globe
[email protected] on getting this for Halloween or Christmas? I think it would look nice.
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maryversusthemovies · 2 years ago
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Imaging you're really, really good at cosplay--so good you create a time loop that dooms you. We talk nostalgia, the vastness of the Great Lakes, and the San Francisco Music Box Company, among other things.
Episode 101 - Somewhere in Time
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https://sites.libsyn.com/398906/episode-101-somewhere-in-time-1980
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wub-fur-radio · 2 years ago
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I Am Not a Robot ✅    
 
 a diverse and engaging mix that showcases some of the best music in the psychedelic, garage, punk, and indie rock genres. Tune in, turn up the volume, and enjoy the ride. – ChatGPT
We’ve all checked the box — dozens, hundreds, maybe even thousands of times — but how often have we stopped to think about how it makes the robots feel? Wub-Fur presents an eclectic, electric, organic, and cybernetic mix of new psychedelic, garage, punk, and indie rock tunes for the enjoyment of all peoples - meat and metal. Featuring contributions from Frankie and the Witch Fingers, R. Ring, Purling Hiss, Carlton Melton, Dead Sea Apes, and 13 other bands who (as far as we know) are not robots.
Cover art generated by the Stable Diffusion AI via Night Cafe.
â–¶ïžŽđŸŽ¶â€‰Play on  Mixcloud –or– YouTube (or scroll down to use an embedded player below)
Running Time: 1 hour, 29 minutes, 55 seconds
Tracklist
Intro (0:21) — Ryan Sawyer, Andres Renteria, & John Dwyer | Los Angeles, CA
Chalice (5:53) — Frankie and the Witch Fingers | Los Angeles, CA †
Gotten Lazy (2:43) — Francie Moon | Montague Twp, NJ †
Hangers On (2:01) — Dan Sartain | Birmingham, AL
Disorder (2:23) — Bikini Beach | Konstanz, Germany
Dust Devil (5:26) — Jack Harlon & the Dead Crows | Melbourne, Australia
Panic (3:38) — Obscure Animals | Austin, TX †
Still Life (2:17) — R. Ring | Dayton, OH
If the Wheels Are Coming Off, the Wheels Are Coming Off (4:14) — Ulrika Spacek | London, UK
When the End Is Over (4:44) — Purling Hiss | Philadelphia, PA
Rock & Roll Atom Bomb (3:12) — Plastic Bubble | Lexington, KY †
Grey on Grey (5:07) — Winged Wheel | Detroit, MI †
You Don't Have to Think (5:18) — Missing Jack & the Kameleons | Toulouse, France
Time and Space and Pyramids (5:37) — Liquid Sound Company + Herd of Instinct | Arlington, TX
The Beauty of Infinite Sand, Pts. 1 & 2 (16:06) — Planet Harakiri | Hungary
Chop Shop (7:23) — Carlton Melton | San Francisco, CA †
Parasite Rex (6:04) — Dead Sea Apes | Manchester, UK
Tae the Moon (7:26) — Helicon | Glasgow, UK
All tracks released in 2023, except those marked (†) which were released in 2022.
âœŠđŸ»â€‰Wub-Fur Internet Radio Supports Bandcamp Unitedâ€‰âœŠđŸ»
đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–Â đŸš«Â đŸ€–
Embedded Mixcloud Player
Embedded YouTube Music Player
If you’re not seeing an embedded player it’s probably because you’re reading this on Tumblr, in which case you can click here to open this post directly on the Wub-Blog.
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therealbeachfox · 3 months ago
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I want to go to San Francisco. Not the San Francisco that exists now, with it's leaning towers and stadiums named after tech companies and tech-bros filling the streets and gentrifying out all the people who use to actually live there, not just exist.
I want to go to San Francisco like it used to be. I want to walk streets that had cracks but not chained off trees, that had people, but hardly any homeless. I want to wander through subcultures I never understood and now never will get to because they've worn away under time's heel. I want to feel a little in danger because I'm surrounded by passions and drives I don't know but understand, not in danger because I'm surrounded by rich white libertarians who would see me excised from existence because not being like them makes it hard to market to me.
I want the sun and the fog and a hundred different kinds of music heard through boom box speakers and for technology to be a thing of wonder and hope for the future and not something that'd fallen into cursed hands to make the world somehow both vast and open yet shallow and spiteful.
I want to show my husband my favorite exhibits at the Natural History Museum that have all either burned down, or been dismantled. I want to explore the shops that fell to earthquakes. I want to drink in bars that've shuttered and closed. I want to eat the best spaghetti I've ever had at a restaurant which hasn't existed for twenty years.
And I hate that I know that the time and place I exist in now will one day also be a thing I yearn to walk through once again but will never be able to.
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the ache of nostalgia
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varvarascottage · 2 months ago
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Check out this listing I just added to my Poshmark closet: Vintage Phantom of the Opera Music Box-The San Francisco Music Box Company 1986.
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faded-florals · 2 years ago
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Happy Phantom Merch Monday! ✹
This collectable came with the picture shown in the 5x7 frame and has a music box on the back that plays a small portion of “Music of the Night”. I think it’s the cutest, even though it cuts off the song in the middle of the phrase! 😂 It is one of the only music boxes that I own that is not from San Francisco Music Box Company.
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glancieri · 2 months ago
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Check out this listing I just added to my Poshmark closet: Vintage The San Francisco Music Box Company “ Little Girl Playing Dress Up”.
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earcandle · 9 months ago
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ECP0720 Hotel Utah Open Mic 010603
Ear Candle Productions captured an open mic at the Hotel Utah Saloon in San Francisco, CA on January 6, 2003. Bob O'Magic was the MC. This tape begins with the calling out of performers by numbers (or in this case, "letters"), with Bob assisted by open mic performer Alabaster Adams.
If you can afford to donate any amount to Ear Candle Productions for these uploads, our company can then claim Revenue, Costs, and Administrative Expenses on our 2024 Schedule C and Schedule 1 Tax Returns.
You can pay by check and mail to our Post Office Box 170357, San Francisco, CA 94117 or you can make a direct deposit to Paypal at [email protected]. and we will be notified in our Wells Fargo Bank Account of your support for our work.
Davis is now retired. ‹The performers, in order:
1. The Kamikaze Mix with Keith Savage, Dougal Hayes (aka Rich Hubbard, Mike Toth, and others 2. Dennis 2 Society, accompanied by the same ensemble 3. Jeff Cole 4. Madge 5. Unidentified Harp-Guitarist 6. Bryan Harrison 7. JJ Schultz
Ear Candle Productions is a small music label, video production, and eLearning website designed to be a place for the arts to stay and to be a venue for the creative products of the owners, John Bassham (AKA J Neo Marvin) and Debra Nicholson Bassham (AKA Davis Jones). We live in San Francisco. Come visit our website, check out our YT, Bandcamp, Ear Candle Radio, and other pages at https://earcandleproductions.com
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