#martha glaser

[chansonsinternationales]

Martha Glaser & Erroll Garner

[pittarchives]

John Hammond and Martha Glaser: A Cold Correspondence

This post was written by Adam Lee, graduate student, Jazz Studies.

Erroll Garner famously won a lawsuit against record production titan Columbia Records in the early 1960s, which allowed him to launch his own label Octave records. While the details of this lawsuit have been covered by news outlets such as Variety (The True Story of Erroll Garner, the First Artist to Sue a Major Label and Win), the fallout of this suit would continue to echo throughout history in the form of a feud between Garner’s manager Martha Glaser and Columbia Records producer John Hammond.

John Hammond was a scion of the Vanderbilt family through his mother and by the 1930s had become one of the most influential promoters and producers of jazz, acting as a patron to such jazz legends as Count Basie, Billie Holiday, and Benny Goodman (who became his brother-in-law in 1942). He is often lauded for his staunch stance against racism through his promotion of jazz in a time in which it was considerably less common to find white people of status working to promote Black artists. Not all jazz artists would receive Hammond’s full support, however, as is made clear with his lukewarm response to Erroll Garner’s work.

Hammond was the producer working for Columbia when the events that led to Garner’s lawsuit came about, and later would become involved again in a Garner reissue project in 1975. Martha Glaser, writing on behalf of Garner, wrote to Hammond expressing her disdain for the way Columbia, and thus Hammond himself, was handling this project in the last few years of Garner’s life.

Image from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.

Glaser writes that Garner and she were reluctant to be involved in a Columbia production, understandable from their previous contentious relationship, but initially thought that Hammond would be supportive of the project: “It was with considerable trepidation that we got into the PLAY IT AGAIN, ERROLL project, because of past experiences at Columbia. However, with your reassurance, and Jim Brown’s support, we thought there would be no problems.” Clearly, there were problems and Glaser had no reservations expressing her feelings later in the letter writing: “We are most dismayed that our good friends at Columbia have so little regard for Erroll or myself, that we can’t reach them, or get a reply.” The venom in her language is clear, the Columbia producers are no friends of theirs.

Image from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.

Several years later, after Garner’s passing, Glaser and Hammond got into another conflict via letters sent between them. We do not have every record in the archive of this correspondence, but by looking at the letters we do have we can extrapolate some of the content, and it is increasingly hostile. The conflict seems to begin with Glaser’s objection to a quote in George Goodman Jr.’s June 28, 1981 article about Miles Davis titled  ”Miles Davis: I Just Pick Up My Horn And Play.” In the article, Goodman attributes a statement to Hammond (which Glaser notes is not written as a quote, but more as a statement of fact): “To John Hammond, the authoritative critic and jazz patron credited with the ‘discovery’ of such greats as Bessie Smith and Louis ''Satchmo'' Armstrong, Mr. Davis is the only major performer of his generation who broadened rather than contracted the appeal of jazz music.” Glaser vehemently objects to this characterization, and overtly questions Hammond on it in a letter dated the next day, June 29, 1981: “Whether it accurately states your opinion, I can’t tell – but I certainly wonder about it.” Glaser goes on to contradict the assertion that only Davis expanded jazz appeal, referring to Garner’s public success with scathing and sarcastic language: “… if he was ‘contracting’ the appeal of jazz, then I wonder who all those people were in all those SRO audiences through the world for all those years…,” and “Indeed, he was sock box office…despite the heavy-handed treatment of CBS Records, and the subsequent results. I can fill you in, but I am sure you know much of what happened.” Obviously Hammond knows what happened, as he was the head of A&R (Artists and Repertoire) for CBS/Columbia Records at that time.

Image from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.

Hammond’s response is dated July 16, 1981 and specifically refutes the Goodman article for the Times, attempting to redirect the ire against him to the Times itself saying, “Why the Times is so sloppy in its music coverage and quotes is beyond belief.” While he could have continued to play diplomat, he instead doubles down on the conflict and writes some very specifically cruel things about Garner and Glaser “…the greatest mistake he ever made was in leaving CBS for purely financial reasons. When I came back there in the very late fifties, I did my best to patch things up, but I must say that I found both you and Erroll greedy, to say the very least.” He follows this with an attack on Glaser alone: “Unfortunately, the nit-picking that went on by you (acting on behalf of Erroll) left you with very few friends in the company. When I tried to sign Erroll in the mid-sixties, I was warned that if I did, I would probably suffer another heart attack and was ordered to cease and desist my efforts.”

Images from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.

Glaser counters the attacks directly: “’Greed’ was not the reason for the litigation. It was at a great sacrifice – including a financial one – that Erroll was pressed into this litigation by some substantial violations of his contract.” Ever the stalwart defender of Garner, Glaser accuses Hammond of hiding this opinion from Garner behind a smiling face: “I wish you had told Erroll, at the time, or in the almost 20 years subsequent to the litigation, that you thought he and I were motivated by ‘greed’. This might have put a different face on how he reacted to the entire situation, and to you, since he always said – ‘Don’t put John in the middle’, and was concerned about your well-being.” Glaser continued to take issues with Hammond’s specific phrase “nit-picking,” and notes the implications of such language: “I sometimes wonder where such an appellation might be sexist. When a man works as hard and carefully as I have to maintain quality standards, he is considered to be on top of things.” The jarring final statement is loaded with a sarcastic feel, like Glaser is writing pleasantries because these things are included in letters by practice but not by meaning: “I hope we can talk one day. In the meantime, thank you for your attention and response. Wishing you the best with your new enterprises. Sounds most exciting.”

Image from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.

To this letter we do have Hammond’s response, dated September 19, 1981. And once again, venomous statements are bookended with pleasantry. Hammond first apologizes about the greed comment, but by the third paragraph he outright tells Glaser that Garner would have been more financially and professionally successful if they had stuck with him and Columbia Records.

(Above) Images from folder “Correspondence from John Hammond,” Erroll Garner Archive, 1942-2010, Box 1, Folder 62, Archives & Special Collections, University of Pittsburgh Library System.   

The final document in this record appears to be a draft of a letter typed by Glaser before the final version dated September 9,1981. While this document does not have a date, it does follow many of the same points of the dated letter and responds point by point to Hammond’s July 16, 1981 document. This draft has numerous redactions and corrections, and the language in it is much stronger than the one that eventually replaced it, (including one parenthetical where Glaser notes “have to change this” after expressing that Hammond’s letter was “character assassination.”) And it is perhaps for the best that it wasn’t sent, but in it we can see the rage that Glaser had for Hammond and the industry, and the vigor by which she was ready to protect Garner’s reputation and status. This draft letter too shows some significant insight into the things that Glaser thought were important, but (in contrast with the final letter) chose to hold back, almost certainly as a result of professional considerations. She writes “That Mr. Garner, a Black – jazz – artist – with a female manager – in those pre-consciousness raised days – both in the fields of race and sex – had the audacity to go up against a major corporation to defend his artistic rights – apparently didn’t sit well with the corporate heads. It was a ‘first’ and they made it clear he had to be broken and punished. Surely, you were aware of that.”

All in all, through these letters, we can see the conflict between Glaser and Hammond, and the not-so-subtle attempts by both of them to conceal resentment and animosity. Hammond’s position of power and reputation in the industry allowed him to feign magnanimity, but Glaser had neither the luxury nor the desire to sugar coat her arguments, although we can see from the differences in her brutal draft letter from her significantly more (but not entirely) diplomatic final letter version that she did take these things into consideration. In the end, Glaser once again proved that she would stand up for Garner against even industry giants like John Hammond, in a way that was uniquely her own.

Works Cited

Erroll Garner Archive, 1942-2010, AIS.2015.09, Archives & Special Collections, University of Pittsburgh Library System.

Goodman, George. "MILES DAVIS: 'I JUST PICK UP MY HORN AND PLAY'." The New York Times. June 28, 1981. Accessed April 27, 2021. https://www.nytimes.com/1981/06/28/arts/miles-davis-i-just-pick-up-my-horn-and-play.html.

Ouellette, Dan. "The True Story of Erroll Garner, the First Artist to Sue a Major Label and Win." Variety. December 02, 2019. Accessed April 27, 2021. https://variety.com/2019/music/news/the-true-story-of-erroll-garner-the-first-artist-to-sue-a-major-label-and-win-1203413083/.

[still-single]

Still Single / Heathen Disco 2020 End of Year Recap

I guess I’m back! I started gingerly dipping back over into Tumblr to publish some reviews as a means of cutting through all the bondage photos and anime screencaps and people still living on Tumblrs (shout out to anyone still Tumblin', it's alright). I also redoubled my efforts to do great radio shows, and that seems to bother some of you enough to unsubscribe, but I'm feeling great about all that. If you wanna hear those shows, you can go to Mixcloud and listen to your hearts' content. Those 5-6 reviews on here actually turned up worthwhile music in my PO box, so thanks to those who submitted.

This was gonna be the year I reintroduced myself to the world. Don't make plans like that. Things are a lot better now than I thought they'd be, and the time I burnt up on movies and self-reflection this year was probably more needed than another DJ gig or whatever. Radio sustained me, I will freely admit, and finding records out in the wild once shops reopened was really killer too.

Anyway, time for a year-end recap, right?

Top 10 albums, historical (alphabetical): Adulkt Life – Book of Curses (What’s Your Rupture?) Bailterspace – Concret (self-released) The Cowboy – Wi-Fi on the Prairie (Feel It) Angel Bat Dawid and Tha Brotherhood – Live (International Anthem) Home Blitz – All Through the Year EP (Sophomore Lounge) MJ Guider – Sour Cherry Bell (Kranky) David Nance – Staunch Honey (Trouble in Mind) Theo Parrish – Wuddaji (Sound Signature) Schisms – Speech Copy Rap Master (Fort Evil Fruit) Sweeping Promises – Hunger for a Way Out (Feel It)

25 more, just because, also alphabetical: Ana Roxanne – Because of a Flower (Kranky) Clemency – References EP and remixes (2 B REAL) Tara Clerkin Trio – self-titled (Laura Lies In) Dezron Douglas & Brandee Younger – Force Majeure (International Anthem) DJ Python – Mas Amable (Incienso) FACS – Void Moments (Trouble in Mind) Green/Blue – self-titled (Slovenly) Gun Outfit – Clean Runs the Thread (Joyful Noise) Janedriver – You Know It’s True EP (self-released) Junk Drawer – Ready for the House (Art for Blind) Lavender Flu – Barbarian Dust (In the Red) / Tomorrow Cleaners (MEDS) … technically two releases, but really just chapters in the same book Lewsberg – In This House (12XU) Melenas – Dias Raros (Trouble in Mind) The Midnight Steppers – Isolation Drives (Radical Documents) Oily Boys – Cro Memory Grin (Cool Death) Optic Sink – self-titled (Goner) Permission – Organised People Suffer (La Vida Es Un Mus) Pool Holograph – Love Touched Time … and Time Began to Sweat (Sunroof) Riki – self-titled (Dais) Sacred Product – Same Old Gag (Eternal Souncheck) The Soft Pink Truth – Shall We Go on Sinning So That Grace May Increase? (Thrill Jockey) Special Interest – The Passion Of (Night School/Thrilling Living) Luke Stewart – Luke Stewart Exposure Quintet (Astral Spirits) Vanessa Worm – VANESSA 77 (Optimo Musik) Jim White & Marisa Anderson – The Quickening (Thrill Jockey)

15 reissues/archival, alphabetical yet again: Dadamah – This Is Not a Dream (Grapefruit) East Village – Hotrod Hotel (Slumberland) The Eighteenth Day of May – self-titled (Cardinal Fuzz/Feeding Tube) Endless Boogie – The Gathered and Scattered (No Quarter) Flaming Tunes – self-titled (Superior Viaduct) Anthony Moore – OUT (Drag City) Musica Transonic – self-titled (Black Editions) Naujawanan Baidar – self-titled (Cardinal Fuzz/Feeding Tube) No Trend – Too Many Humans/Teen Love box set (Drag City) The Only Ones – Live in Chicago 1979 (Alona’s Dream) Rema-Rema – Wheel in Small Doses Extended Version (Le Coq Musique) Vertical Slit – Live at Browns (Siltbreeze) Vivienne Styg – Rose of Texas (Tall Texan) The Whip – self-titled (Wantage USA) Various Artists – Strum & Thrum: The American Jangle Underground (Captured Tracks)

Top 10 Record Scores this year, A to zed: The Church – Sing-Songs 12” EP (Parlophone) The Equals – Equals Party live promo 12” (Phonogram) HNO3 – Doughnut Dollies 12” (R & S) Annea Lockwood – Glass World of Anna Lockwood LP (Tangent) Optik/Equal Phaze – split one-sided 12” test press (no label) Six Finger Satellite – Severe Exposure LP/12” (Sub Pop) Sweet Breeze – Across the Desert LP (Feathers) Tappi Tíkarrass – Miranda LP (Gramm) Various Artists – Best of the Beat Greatest Hits LP, purple sleeve (Espera) Various Artists – Le Mysterieux 12” EP (Musique Pour La Danse)

Favorite movies discovered in 2020:

“Animals” | 2019, d. Sophie Hyde “Band of the Hand” | 1986, d. Paul Michael Glaser “Bell, Book & Candle” | 1958, d. Richard Quine “Breaking In” | 1989, d. Bill Forsyth “Le Choc du Futur” | 2019, d. Marc Collin

“The City Girl” | 1984, d. Martha Coolidge “Conquest” | 1983, d. Lucio Fulci “Everybody in the Place: An Incomplete History of Britain 1984-1992” | 2018, d. Jeremy Deller “G.B.H” | 1982, d. David Kent-Watson “Luz” | 2018, d. Tilman Singer

“The Pyx” | 1973, d. Harvey Hart “Ring of Darkness” | 1979, d. Pier Carpi “Rivals” | 1972, d. Krishna Shah (and RIP to Mike “McBeardo” McPadden, who made me aware of it, as he made many people aware of the insane secret histories of genre cinema) “Satisfaction” | 1988, d. Joan Freeman “Savage Three” | 1975, d. Vittorio Salerno

“Simon, King of the Witches” | 1971, d. Bruce Kessler “Swallow” | 2019, d. Carlo Mirabella-Davis “Thief” | 1981, d. Michael Mann “Two Gentlemen Sharing” | 1969, d. Ted Kotcheff “X, Y & Zee” | 1972, d. Brian G. Hutton

Resolutions for 2021: Open things up, share more, care more.

_______ New Year, Doug Mosurock

[hitzerot-prints-and-publications]

Nuart Journal – #4 FREEDOM

“Nuart Journal is a forum for critical commentary on urban art, defined as broadly as possible to include all aspects of both independently sanctioned and unsanctioned art in public space that does not fall under the general rubric of traditional public art practice. Nuart Journal includes traditional peer-reviewed academic papers as well as more experimental modes of research. It is a site for scholars, artists, curators and independent researchers to publish articles, conversations, reviews, projects and opinion pieces on street art and related topics.”

When FREEDOM, the fourth issue of Nuart Journal was published in 2020, the editors as well as the contributing authors of course did not knew that global restrictions of freedom in any imaginable way would follow a few weeks later. So although the main topic is freedom, it is defined slightly different as you might expect in the first place. As stated on the Nuart website the content this time does “critically address ideas related to freedom, democracy and our right to public space – freedom of artistic expression, freedom of movement, freedom from harassment, violence and arrest.“

Just like the previous issues the Journal functions as a open forum for scientific articles, essays and analyzes separated into three main chapters on almost 140 pages: Visual/Experimental, Original Articles and Interviews/Talks/Books. The contributions this time cover topics like the closing of the legendary 5Pointz hall of fame in New York and its aftermath, Graffiti and Street Art on Instagram, the works of Gigo Propaganda or Trainspotting in Helsinki.

I. Visual/Experimental • Roxana & Pablo Allison: Operation Jurassic • Oсколки / Oskolki: „HE“ / „NO“ • Alex Stone, Vanessa Onwumezi & Martin Wakefield: Intervention on the Underground • Julien de Casabianca: Sex Against the Wall • Jonna Tolonen: Paint Like a Girl! Street Interventions Fighting Against Sexual Harassment in Greece And Spain • Anneke Coppoolse, Chan Ka Man & Yu Wing Ching: Contested Canvas • Cybèle Andrei: I Am the Revolution

II. Original Articles • Enrico Bonadio & Olivia Jean-Baptiste: Another Win for 5Pointz: Destroying Street Art and Graffiti Does Not Always Pay Off • Malin Fransberg: Spotting Trains: An Ethnography of Subcultural Media Practices Among Graffiti Writers in Helsinki • Amy Melia: Urban Gentrification and ‘Non-Artist’ Agency: Towards a Working-Class Turn in Anti-Gentrification Art Projects • Katja Glaser: Gigo Propaganda: Framing and Reframing

III. Interviews/Talks/Books • Danielle Karam: Beirut Street Art: Painting a Revolution Against Walls • Lachlan MacDowall: Snitches, Glitches, and Untold Riches: graffiti and street art on Instagram • Political Stencil Crew, Athens: 5 Years of Action • Looking for Creativity in Everyday Life: Martha Cooper and Selina Miles in Conversation with Evan Pricco

Now available at www.hitzerot.com

[didanawisgi]

Omega-3 supplements do double duty in protecting against stress

Study finds high dose of fatty acids may slow cellular aging

A high daily dose of an omega-3 supplement may help slow the effects of aging by suppressing damage and boosting protection at the cellular level during and after a stressful event, new research suggests.

Researchers at The Ohio State University found that daily supplements that contained 2.5 grams of omega-3 polyunsaturated fatty acids, the highest dose tested, were the best at helping the body resist the damaging effects of stress.

Compared to the placebo group, participants taking omega-3 supplements produced less of the stress hormone cortisoland lower levels of a pro-inflammatory protein during a stressful event in the lab. And while levels of protective compounds sharply declined in the placebo group after the stressor, there were no such decreases detected in people taking omega-3s.

Annelise MadisonThe supplements contributed to what the researchers call stress resilience: reduction of harm during stress and, after acute stress, sustained anti-inflammatory activity and protection of cell components that shrink as a consequence of aging.

The potential anti-aging effects were considered particularly striking because they occurred in people who were healthy but also sedentary, overweight and middle-aged – all characteristics that could lead to a higher risk for accelerated aging.

“The findings suggest that omega-3 supplementation is one relatively simple change people could make that could have a positive effect at breaking the chain between stress and negative health effects,” said Annelise Madison, lead author of the paper and a graduate student in clinical psychology at Ohio State.

The research is published today (Monday, April 19, 2021) in the journal Molecular Psychiatry.

Madison works in the lab of Janice Kiecolt-Glaser, professor of psychiatry and psychology and director of the Institute for Behavioral Medicine Research at Ohio State. This paper is a secondary analysis of one of Kiecolt-Glaser’s earlier studies showing that omega-3 supplements altered a ratio of fatty acid consumption in a way that helped preserve tiny segments of DNA in white blood cells.

Janice Kiecolt-GlaserThose short fragments of DNA are called telomeres, which function as protective caps at the end of chromosomes. Telomeres’ tendency to shorten in many types of cells is associated with age-related diseases, especially heart disease, and early mortality.

In the initial study, researchers were monitoring changes to telomere length in white blood cells known as lymphocytes. For this new study, the researchers looked at how sudden stress affected a group of biological markers that included telomerase, an enzyme that rebuilds telomeres, because levels of the enzyme would react more quickly to stress than the length of telomeres themselves.

Specifically, they compared how moderate and high doses of omega-3s and a placebo influenced those markers during and after an experimental stressor. Study participants took either 2.5 grams or 1.25 grams of omega-3s each day, or a placebo containing a mix of oils representing a typical American’s daily intake.

After four months on the supplements, the 138 research participants, age 40-85, took a 20-minute test combining a speech and a math subtraction task that is known to reliably produce an inflammatory stress response.

Only the highest dose of omega-3s helped suppress damage during the stressful event when compared to the placebo group, lowering cortisol and a pro-inflammatory protein by an average of 19% and 33%, respectively.

Results from blood samples showed that both doses of omega-3s prevented any changes in telomerase levels or a protein that reduces inflammation in the two hours after participants experienced the acute stress, meaning any needed stress-related cell repair – including telomere restoration – could be performed as usual. In the placebo group, those repair mechanisms lost ground: Telomerase dropped by an average of 24% and the anti-inflammatory protein decreased by an average of at least 20%.

“You could consider an increase in cortisol and inflammation potential factors that would erode telomere length,” Madison said. “The assumption based on past work is that telomerase can help rebuild telomere length, and you want to have enough telomerase present to compensate for any stress-related damage.

“The fact that our results were dose-dependent, and we’re seeing more impact with the higher omega-3 dose, would suggest that this supports a causal relationship.”

The researchers also suggested that by lowering stress-related inflammation, omega-3s may help disrupt the connection between repeated stress and depressive symptoms. Previous research has suggested that people with a higher inflammatory reaction to a stressor in the lab may develop more depressive symptoms over time.

“Not everyone who is depressed has heightened inflammation – about a third do. This helps explain why omega-3 supplementation doesn’t always result in reduced depressive symptoms,” Kiecolt-Glaser said. “If you don’t have heightened inflammation, then omega-3s may not be particularly helpful. But for people with depression who do, our results suggest omega-3s would be more useful.”

The 2.5-gram dose of omega-3s is much higher than what most Americans consume on a daily basis, but study participants showed no signs of having problems with the supplements, Madison said.

The research was supported in part by grants from the National Institutes of Health.

Additional Ohio State co-authors include Martha Belury, Rebecca Andridge, Megan Renna, Rosie Shrout and William Malarkey.

[tothemaxxx]

My Favorite Films and Performances of 2019

As per, I did’t get to watch everything. But these are the films that did the most for me in 2019. If it’s not on here, I either didn’t have the opportunity to see it or I just plain didn’t dig it.

TOP 5, loosely ranked. I love these deeply.

1. ONCE UPON A TIME IN HOLLYWOOD, Quentin Tarantino

2. PARASITE, Bong Joon-ho

3. UNCUT GEMS, Josh and Benny Safdie

4. PORTRAIT OF A LADY ON FIRE, Céline Sciamma

5. MONOS, Alejandro Landes

The rest of the Top 20, in alphabetical order. I loved these.

THE AMAZING JOHNATHAN DOCUMENTARY, Ben Berman

BEANPOLE, Kantemir Balagov

THE FAREWELL, Lulu Wang

A HIDDEN LIFE, Terrence Malick

IN FABRIC, Peter Strickland

THE IRISHMAN, Martin Scorsese

KNIFE + HEART, Yann Gonzalez

KNIVES OUT, Rian Johnson

THE LAST BLACK MAN IN SAN FRANCISCO, Joe Talbot

THE LIGHTHOUSE, Robert Eggers

LORDS OF CHAOS, Jonas Åkerlund

MARRIAGE STORY, Noah Baumbach

MIDNIGHT FAMILY, Luke Lorentzen

THE SOUVENIR, Joanna Hogg

TRANSIT, Christian Petzold

                                                          —————

I also enjoyed, some with reservations:

A Beautiful Day In The Neighborhood, Ad Astra, Arctic, The Art of Self-Defense, Ash Is Purest White, Atlantics, Birds of Passage, Climax, Dark Waters, The Dead Don’t Die, Diamantino, Diane, Dolemite is My Name, Downton Abbey, El Camino: A Breaking Bad Movie, Ford v Ferrari, Gloria Bell, Greta, Her Smell, High Flying Bird, High Life, Hotel By The River, Hustlers, I Lost My Body, Les Misérables, Little Women, Midsommar, The Mustang, Non-Fiction, Pain & Glory, Peterloo, Ready or Not, The Report, The Standoff at Sparrow Creek, Us, Waves, Wild Rose

And these documentaries:

Amazing Grace, Apollo 11, David Crosby: Remember My Name, The Great Hack, Hail Satan?, Honeyland, The Kingmaker, Knock Down The House, Linda Ronstadt: The Sound of My Voice, One Child Nation, Well Groomed

                                                         —————

Did anyone ask for my favorite movies of the decade? No. Will I list them now, allowing only one title per director? Yes.

Carlos, Dogtooth, Force Majeure, Green Room, Inherent Vice, Mad Max: Fury Road, Mandy, Once Upon A Time In Hollywood, Parasite, Shoplifters, The Social Network, Toni Erdmann, Under The Skin, We Need to Talk About Kevin, Wild Tales

                                                         —————

My favorite performance of the year:

Adam Sandler as Howard Ratner in Uncut Gems

                                                         —————

Dynamic Duos:

Leonardo DiCaprio as Rick Dalton & Brad Pitt as Cliff Booth in Once Upon A Time In Hollywood

Valerie Pachner as Franziska Schwaringer & August Diehl as Franz Jägerstätter in A Hidden Life

Robert Pattinson as Ephraim Winslow & Willem Dafoe as Thomas Wake in The Lighthouse

Vasilisa Perelygina as Masha & Viktoria Mironshnichenko as Iya in Beanpole

                                                         —————

Favorite Ensembles:

Climax, The Dead Don’t Die, Dolemite Is My Name, The Irishman, Knives Out, Les Misérables, Marriage Story, Monos, Once Upon A Time In Hollywood, Parasite, Peterloo, Uncut Gems, Us

                                                         —————

So many memorable performances:

Alan Alda as Bert Spitz in Marriage Story

Christian Bale as Ken Miles in Ford v Ferrari

Antonio Banderas as Salvador Mallo in Pain and Glory

Paula Beer as Marie in Transit

Annette Benning as Senator Dianne Feinstein in The Report

Juliette Binoche as Selena in Non-Fiction

Damien Bonnard as Ruiz in Les Misérables

Jessie Buckley as Rose-Lynn in Wild Rose

Sofia Buenaventura as Rambo in Monos

Tom Burke as Anthony in The Souvenir

Julie Butters as Trudi Fraser in Once Upon A Time In Hollywood

Honor Swinton Byrne as Julie in The Souvenir

Louis Cancelmi as Sally Bugs in The Irishman

Chang Hyae-jin as Chung-sook in Parasite

Cho Yeo Jeong as Park Yeon-kyo in Parasite

Ana de Armas as Marta Cabrera in Knives Out

Laura Dern as Nora Fanshaw in Marriage Story

Wayne Diamond as High Roller in Uncut Gems

Julia Fox as Julia in Uncut Gems

Kevin Garnett as Kevin Garnett in Uncut Gems

Rebecca Gayheart as Billie Booth in Once Upon A Time In Hollywood

Jon Glaser as Mark in Hustlers

Adèle Haenel as Héloïse in Portrait of a Lady on Fire

Julie Hagerty as Sandra in Marriage Story

Tim Heidecker as Josh Tyler / Tex in Us

André Holland as Ray Burke in High Flying Bird

Isabelle Huppert as Greta Hideg in Greta

Marianne Jean-Baptiste as Sheila in In Fabric

Karl Johnson as Lord Sidmouth in Peterloo

Lee Jung-eun as Gook Moon-gwang in Parasite

Martha Kelly as the Evaluator in Marriage Story

Ted Levine as John Brennan in The Report

Ray Liotta as Jay Marotta in Marriage Story

Jennifer Lopez as Ramona in Hustlers

Jonathan Majors as Montgomery Allen in The Last Black Man in San Francisco

Idina Menzel as Dinah Ratner in Uncut Gems

Noémie Merlant as Marianne in Portrait of a Lady on Fire

Fatma Mohamed as Miss Luckmoore in In Fabric

Julianne Moore as Gloria in Gloria Bell

Elisabeth Moss as Becky Something in Her Smell

Eddie Murphy as Rudy Ray Moore in Dolemite Is My Name

Julianne Nicholson as Doctora Sara Watson in Monos

Alessandro Nivola as Sensei in The Art of Self-Defense

Lupita Nyong'o as Adelaide Wilson / Red in Us

Al Pacino as Jimmy Hoffa in The Irishman and as Marvin Schwarz in Once Upon A Time In Hollywood

Joe Pesci as Russell Bufalino in The Irishman

Mary Kay Place as Diane in Diane

Florence Pugh as Dani in Midommar

Keanu Reeves as Keanu Reeves in Always Be My Maybe

Margot Robbie as Sharon Tate in Once Upon A Time In Hollywood

Franz Rogowski as Georg in Transit

Taylor Russell as Emily in Waves

Andy Serkis as Parker Wembley in Long Shot

Wesley Snipes as D'Urville Martin in Dolemite Is My Name

Song Kang-ho as Kim Ki-taek in Parasite

Tilda Swinton as Zelda Winston in The Dead Don’t Die

John Turturro as Arnold in Gloria Bell

Zhao Shuzhen as Nai Nai in The Farewell

          ... and Sayuri the pit bull as Brandy in Once Upon A Time In Hollywood

                                                         —————

Favorite older film I saw for the first time in 2019:

War and Peace, Sergei Bondarchuk, 1965

                                                         —————

THE END!

[garudabluffs]

his manager, Martha Glaser (pictured above, right, with Garner)

The True Story of Erroll Garner, the First Artist to Sue a Major Label and Win                                      November 22, 2019

“The pianist was forced to sit out two and a half years of recording at the height of his career. Some speculate that the absence is a major reason why he’s not as lionized today as contemporaries like Dave Brubeck.”

“When Garner won his landmark case of making a groundbreaking statement on an artist’s freedom, he received a cash settlement, his masters were returned and Columbia agreed to recall and destroy the records it had released without his approval, although many of those albums ended up for sale on the black market (it’s possible that distributors, rather than Columbia, were responsible for illegally selling the albums).The money funded the launching of Garner’s own independent label with Glaser. With Glaser producing, Garner recorded 12 albums in 18 years for Octave Records. Those albums were distributed by different companies through the course of the label’s existence.“That was also a remarkable feat,” says Peter Lockhart Senior Producer of the Erroll Garner Jazz Project and a vice president of Octave Music. . “As far as we know, that was the birth of an artist doing his own licensing deal.”Kelley agrees. “What Erroll did was set a precedent for artists,” he says. “They could have the rights to their own material.”

READ MORE https://variety.com/2019/music/news/the-true-story-of-erroll-garner-the-first-artist-to-sue-a-major-label-and-win-1203413083/

12 Comments

[omgsouthpark]

Trey Parker Part of Voice Cast for New Adult Swim Show

Via Animation Magazine:

Adult Swim is diving into the mysterious depths of the human mind in the new animated stop-motion series The Shivering Truth, premiering Sunday, December 9 at midnight ET/PT. Created and written by Emmy-winning South Park writer-producer Vernon Chatman, directed by Chatman and Cat Solen (Take My Wife), and executive produced by PFFR (Neon Joe, Werewolf Hunter, Xavier: Renegade Angel) with Solen. The animation is produced at ShadowMachine.

[...] Voice cast for the series include: Maria Bamford, Kevin Breznahan, Rachel Butera, Ivy Chatman, Vernon Chatman, Zadie Chatman, David Cross, Andy Daly, Janeane Garofalo, Jon Glaser, Bobby Kelly, Conner O’Malley, Trey Parker, Jordan Peele, Zack Pearlman, Martha Plimpton, John Reynolds, Nicole Rodenburg, Peter Serafinowicz, Miriam Tolan and Julio Torres.

You can check out the pilot at AdultSwim.com.

[soulbounce]

【衝撃】ユニバーサル火災でマスターテープが焼失したアーティスト一覧

他の国にマスターのコピーがあることを祈ります。 38 Special 50 Cent Colonel Abrams Johnny Ace Bryan Adams Nat Adderley Aerosmith Rhett Akins Manny Albam Lorez Alexandria Gary Allan Red Allen Steve Allen The Ames Brothers Gene Ammons Bill Anderson Jimmy Anderson John Anderson The Andrews Sisters Lee Andrews & the Hearts Paul Anka Adam Ant Toni Arden Joan Armatrading Louis Armstrong Asia Asleep at the Wheel Audioslave Patti Austin Average White Band Hoyt Axton Albert Ayler Burt Bacharach Joan Baez Razzy Bailey Chet Baker Florence Ballard Hank Ballard Gato Barbieri Baja Marimba Band Len Barry Count Basie Fontella Bass The Beat Farmers Sidney Bechet and His Orchestra Beck Captain Beefheart Archie Bell & the Drells Vincent Bell Bell Biv Devoe Louie Bellson Don Bennett Joe Bennett and the Sparkletones David Benoit George Benson Berlin Elmer Bernstein and His Orchestra Chuck Berry Nuno Bettencourt Stephen Bishop Blackstreet Art Blakey Hal Blaine Bobby (Blue) Bland Mary J. 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Wright Bill Wyman Rusty York Faron Young Neil Young Young Black Teenagers Y & T Rob Zombie

[dr-archeville]

Upcoming Retro Films at the Carolina Theatre of Durham (January-June 2019)

All movies are on Fridays (unless otherwise stated) starting at 7:00pm (or so), and cost $9.50 for both films.  Most shows also have drawings for door prizes -- submit your name & a film you’d like to see, and you could win a fridge magnet with a scene from the night’s movie (or something else!).

You can also get a season pass for $80.00, which covers the RetroClassics, RetroFantasma, RetroNoir, and RetroTreasures double features, and the new Wednesday Cinema Overdrive shows (but does not include ActionFlix, Anime-Magic, FantasticRealm, or Mother’s Day Film Series, or the Wednesday MovieDiva Film Series).

January 18th-20th (Fri-Sun): Anime-Magic Film Series -- Bruce W. Smith’s Robin Harris’ Bébé's Kids (1992), Hiroyuki Morita’s The Cat Returns (2002), Isao Takahata’s Horus, Prince of the Sun (1968), Hayao Miyazaki’s Howl’s Moving Castle (2004), Masaaki Yuasa’s Mind Game (2004), Isao Takahata’s My Neighbors the Yamadas (1999), Haya Miyazaki’s My Neighbor Totoro (1988), Satoshi Kon’s Perfect Blue (1997), Isao Takahata’s Pom Poko (1994), Haya Miyazaki’s Porco Rosso (1992), Hayao Miyazaki’s Spirited Away (2002), and Katsuhiro Otomo’s Steamboy (2004). 

January 23rd (Wed Cinema Overdrive): Sergio Martino’s Torso (1973)

January 25th (RetroFantasma): Ridley Scott’s Blade Runner: The Final Cut (1982) and Geoff Murphy’s The Quiet Earth (1985)

January 30th (Wed MovieDiva): Alfred E. Green’s Baby Face (1933)

February 1st (RetroClassics): Pal Michaewl Glaser’s The Running Man (1987) and Marco Brambilla’s Demolition Man (1993)

February 3rd (Sun): Nevermore Fundraiser -- $12 to see The Wackhowski’s The Matrix (1999) and Mary Harron’s American Psycho (2000)

February 8th (RetroNoir): John Huston’s The Maltese Falcon (1941) and Billy Wilder’s Double Indemnity (1944)

February 13th (Wed MovieDiva ): Maerian C. Cooper��s King Kong (1933)

February 15th (RetroTreasures): Howard deutch’s John Hughes’ Pretty in Pink (1986) and Martha Coolidge’s Valley Girl (1983)

February 20th (Wed Cinema Overdrive): J. Lee Thompson’s 10 to Midnight (1983)

February 22nd-24th (Fri-Sun): FantasticRealm Film Series -- Terry Gilliam’s Fear and Loathing in Las Vegas (1998), David Fincher’s Fight Club (1999), Ken Kwapis’ Sesame Street Presents: Follow That Bird (1985), Robert Rodriguez’s From Dusk till Dawn (1996), Dean Parisot’s Galaxy Quest (1999), Ivan Reitman’s Ghostbusters (1984), Richard Donner’s The Goonies (1985), Steven Spielberg’s Indiana Jones and the Temple of Doom (1984), Ridley Scott’s Legend: Director’s Cut (1985), Frank Oz’s Little Shop of Horrors: Director’s Cut (1986), Wolgang Petersen’s The NeverEnding Story (1984), Tim Burton’s Pee-Wee’s Big Adventure (1985), Robert Altman’s Popeye (1980), Mel Brooks’ Spaceballs (1987), Bob Spiers’ Spice World (1997), and Ken Kwapis’ Vibes (1988).

February 27th (Wed MovieDiva): Josef von Sternberg’s Shanghai Express (1932)

March 1st (RetroFantasma): Tobe Hooper’s Lifeforce (1985) and Harry Bromley Davenport’s Xtro (1982)

March 9th-10th (Fri-Sun): Nevermore Film Festival (20th Anniversary!)

March 13th (Wed MovieDiva): Wesley Ruggles’ I’m No Angel (1933)

March 15th (RetroClassics): Alfred Hitchcock’s Rear Window (1954) and Alfred Hitchcock’s North by Northwest (1959)

March 20th (Wed Cinema Overdrive): Menahem Golan’s The Apple (1980)

March 22nd (RetroTreasures): Mike Judge’s Office Space (1999) and Trey Parker’s South Park: Bigger, Longer & Uncut (1999)

March 27th (Wed MovieDiva): William A. Wellman’s Night Nurse (1931)

March 29th (RetroFantasma): David Cronenberg’s The Dead Zone (1983) and Rob Reiner’s Misery (1990)

April 12th (RetroNoir): W.S. Van Dyke’s The Thin Man (1934) and W.S. Van Dyke’s Another Thin Man (1939)

April 17th (Wed Cinema Overdrive): Walter Hill’s The Driver (1978)

April 19th (RetroTreasures): Albert Magnoli’s Purple Rain (1984) and Susan Seidlman’s Desperately Seeking Susan (1985) 

April 24th (Wed MovieDiva): William A. Wellman’s Love Is a Racket (1932)

April 26th (RetroFantasma): W.D. Richter’s The Adventures of Buckaroo Banzai Across the 8th Dimension (1984) and Mike Marvin’s The Wraith (1986) 

May 1st (Wed MovieDiva): Victor Fleming’s Red Dust (1932)

May 3rd (RetroClassics): Brian De Palma’s Body Double (1984) and Brian De Palma’s Sisters (1973)

May 10th-12th (Fri-Sun): Mother’s Day Film Series -- Jon Avnet’s Fried Green Tomatoes (1991), Wayne Wang’s The Joy Luck Club (1993), Gillian Armstrong’s Little Women (1994), Lesli Linka Glatter’s Now and Then (1995), Mike Nichols’ Postcards From the Edge (1990), Emile Ardolino’s Sister Act (1992), George Tillman Jr.’s Soul Food (1997), Herbert Ross’ Steel Magnolias (1989), James Brooks’ Terms of Endearment (1983), Ridley Scott’s Thelma & Louise (1991), Danny DeVito’s Throw Momma From The Train (1987), and Jeff Kanew’s Troop Beverly Hills (1989).

May 15th (Wed Cinema Overdrive): Sergio Corbucci’s The Great Silence (1968)

May 17th (RetroTreasures): Robert Zemeckis’ Who Framed Roger Rabbit (1988) and Joe Pytka’s Space Jam (1996)

May 22nd ( Wed MovieDiva): Michael Curtiz’s Female (1933)

May 26th (Sun): Fan Appreciation Day -- FREE showing (and FREE medium popcorn) of Peter Lord & Nick Park’s Chicken Run (2000) and Steven Spielberg’s Saving Private Ryan (1998)

May 31st (RetroFantasma): John Irving’s Ghost Story (1981) and Ken Russelll’s Gothic (1986)

June 5th (Wed MovieDiva): Edgar Selwyn’s Skyscraper Souls (1932)

June 7th (RetroNioir): Quentin Tarantino’s Reservoir Dogs (1992) and The Wachowski’s Bound (1996)

June 12th (Wed Cinema Overdrive): David Durston’s I Drink Your Blood (1971)

June 14th (RetroTreasures): John Landis’ Trading Places (1983) and John Landis’ The Blues Brothers (1980) 

June 19th (Wed MovieDiva): Marvyn LeRoy’s Gold Diggers of 1933 (1933)

June 21st (RetroFantasma): John Carpenter’s Prince of Darkness (1987) and John Carpenter’s In the Mouth of Madness (1995)

June 28th-30th (Fri-Sun): ActionFlix Film Series -- Luc Beeon’s The Fifth Element (1991), Stanley Kubrick’s Full Metal Jacket (1987), Guy Hamilton’s Goldfinger (1964), Iain Softley’s Hackers (1995), Mark DiSalle & David Worth’s Kickboxer (1989), John Huston’s The Man Who Would Be King (1975), Bruce Malmuth’s Nighthawks (1981), Quentin Tarantino’s Pulp Fiction (1994), Andrey Konchalovskiy’s Runaway Train (1985), and Steve Barron’s Teenage Mutant Ninja Turtles (1990).

So many amazing films!!!

Carolina Theatre of Durham 309 W. Morgan St., Durham, NC http://www.carolinatheatre.org/

[blackkudos]

Erroll Garner

Erroll Louis Garner (June 15, 1923 - January 2, 1977) (some sources say 1921) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad "Misty", has become a jazz standard. Scott Yanow of Allmusic calls him "one of the most distinctive of all pianists" and a "brilliant virtuoso". He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd.

Life and career

Born with his twin brother Ernest in Pittsburgh, Pennsylvania, to an African-American family on June 15, 1923, or (some sources say) 1921, Erroll began playing piano at the age of three. His elder siblings were taught piano by Miss Bowman. From an early age Erroll would sit down and play anything she had demonstrated, just like Miss Bowman, his eldest sister Martha said. He attended George Westinghouse High School, as did fellow pianists Billy Strayhorn and Ahmad Jamal. Garner was self-taught and remained an "ear player" all his life – he never learned to read music. At the age of seven, he began appearing on the radio station KDKA in Pittsburgh with a group called the Candy Kids. By the age of 11, he was playing on the Allegheny riverboats. At 14 in 1937, he joined local saxophonist Leroy Brown.

He played locally in the shadow of his older pianist brother Linton Garner and moved to New York City in 1944. He briefly worked with the bassist Slam Stewart, and though not a bebop musician per se, in 1947 played with Charlie Parker on the "Cool Blues" session. Although his admission to the Pittsburgh music union was initially refused because of his inability to read music, they eventually relented in 1956 and made him an honorary member. Garner is credited with having a superb memory of music. After attending a concert by the Russian classical pianist Emil Gilels, Garner returned to his apartment and was able to play a large portion of the performed music by recall.

Short in stature (5 ft 2 in), Garner performed sitting on multiple telephone directories. He was also known for his vocalizations while playing, which can be heard on many of his recordings. He helped to bridge the gap for jazz musicians between nightclubs and the concert hall.

Garner made many tours both at home and abroad, and produced a large volume of recorded work. He was, reportedly, The Tonight Show host Johnny Carson's favorite jazz musician, appearing on Carson's show many times over the years.

Erroll Garner died from cardiac arrest related to emphysema on January 2, 1977. He is buried in Pittsburgh's Homewood Cemetery.

In 2016, Downtown Music Publishing entered an exclusive worldwide administration agreement with Octave Music Publishing Corp. The deal covers all of renowned American Jazz pianist and composer Erroll Garner’s works including beloved standard “Misty”, as well as Garner’s extensive archive of master recordings, many of which are currently unreleased.

Playing style

Called "one of the most distinctive of all pianists" by jazz writer Scott Yanow, Garner showed that a "creative jazz musician can be very popular without watering down his music" or changing his personal style. He is referred to as a "brilliant virtuoso who sounded unlike anyone else", using an "orchestral approach straight from the swing era but ... open to the innovations of bop." His distinctive style could swing like no other, but some of his best recordings are ballads, such as his best-known composition, "Misty". "Misty" rapidly became a jazz standard – and was featured in Clint Eastwood's film Play Misty for Me (1971).

Garner may have been inspired by the example of Earl Hines, a fellow Pittsburgh resident but 18 years his senior, and there were resemblances in their elastic approach to timing and the use of the right-hand octaves. Garner's early recordings also display the influence of the stride piano style of James P. Johnson and Fats Waller. Garner developed a signature style that involved his right hand playing behind the beat while his left strummed a steady rhythm and punctuation, thus creating insouciance and tension in the music. The independence of his hands also was evidenced by his masterful use of three-against-four figures and more complicated cross rhythms between the hands. Garner also would improvise whimsical introductions to pieces that left listeners in suspense as to what tune would be. His melodic improvisations generally stayed close to the melodic theme while employing novel chord voicings.

Works

Garner's first recordings were made in late 1944 at the apartment of Timme Rosenkrantz; these were subsequently issued as the five-volume Overture to Dawn series on Blue Note Records. His recording career advanced in the late 1940s when several sides such as "Fine and Dandy", "Skylark" and "Summertime" were cut. His 1955 live album Concert by the Sea was a best-selling jazz album in its day and features Eddie Calhoun on bass and Denzil Best on drums. This recording of a performance at the Sunset Center, a former school in Carmel-by-the-Sea, California, was made using relatively primitive sound equipment, but for George Avakian the decision to release the recording was easy.

One World Concert was recorded at the 1962 Seattle World Fair (and in 1959 stretching out in the studios) and features Eddie Calhoun on bass and Kelly Martin on drums. Other works include 1951's Long Ago and Far Away, 1953's Erroll Garner at the Piano with Wyatt Ruther and Fats Heard, 1957's The Most Happy Piano, 1970's Feeling Is Believing and 1974's Magician, which see Garner perform a number of classic standards. Often the trio was expanded to add Latin percussion, usually a conga.

In 1964, Garner appeared in the UK on the music series Jazz 625 broadcast on the BBC's new second channel. The programme was hosted by Steve Race, who introduced Garner's trio with Eddie Calhoun on bass and Kelly Martin on drums.

Because Garner could not write down his musical ideas, he used to record them on tape, to be later transcribed by others.

The Erroll Garner Club was founded in 1982 in Aberlady, Scotland. On September 26, 1992 Garnerphiles from England, Scotland, Germany and the USA met in London for a unique and historic get-together. The guests of honour were Eddie Calhoun (bassist) and Kelly Martin (drummer), Erroll's rhythm section from the mid 1950s to the mid 1960s. On June 15, 1996 many of the UK's keenest Garnerphiles converged in Cheltenham for an afternoon of food, music and fun on what would have been Erroll's 75th birthday. That evening they were saddened to hear of the death of another jazz legend: Ella Fitzgerald.

Archive and newly discovered material

In 2012 a film on Garner was released by Atticus Brady called No One Can Hear You Read, which Garner used to say when asked why he had never learned to read music. Footage of the piano prodigy playing and speaking was intercut with interviews: with admirers (including Woody Allen, Steve Allen and his fellow musicians Ahmad Jamal, also from Pittsburgh and Ernest McCarty, his bassist for many years); with family members, including his big sister Ruth Garner Moore and daughter Kim Garner; with George Avakian, the producer of Concert By the Sea; and with Jim Doran his biographer. The film attempts to readdress Erroll Garner's fall from prominence after his death, reminding viewers how popular he was in his day, how original and why he is in many quarters considered a legend, one of the true greats of jazz.

On June 15, 2015, the estate of Martha Glaser, Garner's longtime manager, announced the formation of the Erroll Garner Jazz Project, a major new archival and musical celebration of Garner. The project includes the donation of the Erroll Garner Archive—a huge trove of newly discovered historical material from Garner's life—to the University of Pittsburgh.

On September 18, 2015, Concert by the Sea was re-released by Sony Legacy in an expanded, three-CD edition that adds 11 previously unreleased tracks.

On September 30, 2016, 'Ready Take One' was released on Sony Legacy/Octave featuring 14 previously unreleased tracks

Discography

Serenade To Laura (1945) Savoy MG-12003

Giants of the Piano (back to back with Art Tatum) (1947 Hollywood recordings with Red Callender and Hal West), Vogue LP LAE 12209

Early in Paris (1948), Blue Music Group

Penthouse Serenade (1949)

Erroll Garner (August 1949), Los Angeles recordings with John Simmons, Alvin Stoller (2 vols Joker LP BM 3718-3719)

Erroll Garner (no date, c. 1951), with Wyatt Ruther and Fats Heard Philips B 07015 L

Erroll Garner plays for dancing (no date, c. 1951), Philips B 07622 R

Solo flight (no date, c. 1951), Philips B 07602 R

Erroll Garner (AKA Erroll Garner at the Piano) (1951–3 material), with Wyatt Ruther and Fats Heard, Columbia CL535, CBS reissue LP 62311

Mambo Moves Garner (1954), Mercury MG20055

Plays Misty (1954), Mercury SR60662

Gems (1954), Columbia CL583

Music for Tired Lovers, with Woody Herman singing (!) (1954), Columbia CL651

Concert by the Sea (1955), Columbia CL883

Contrasts (EmArcy, 1955)

Garnering (EmArcy, 1955)

Solitaire (1955)

Afternoon of an Elf (1955), Mercury MG20090

The One and Only Erroll Garner (1956)

The Most Happy Piano (1956), Columbia CL939 (Italian CBS reissue, Il magico pianoforte di Erroll Garner, CBS Serie Rubino, 52065, 1967)

He's Here! He's Gone! He's Garner! (1956)

Gone Garner Gonest (1956)

The Greatest Garner (1956), Atlantic 1227

Other Voices, with orchestra (1957), Columbia CL1014

Soliloquy (1957), Columbia CL1060

Erroll Garner - Encores in Hi Fi (1958), Columbia CL 1141

Paris Impressions Vol.#1 (1958), Columbia CL 1212

Paris Impressions (1958), Columbia #1216, double album

Erroll Garner One World Concert (1961), Reprise R9-6080 B

Informal Piano Improvisations (1962), Baronet B-109

A New Kind Of Love (1963), Erroll Garner with Full Orchestra, Conducted by Leith Stevens Phillips BL7595

Erroll Garner/Maxwell Davis Trio: Mr. Erroll Garner and the Maxwell Davis Trio (1964), Crown Records CLP-5404

Erroll Garner Plays Gershwin and Kern (1964), Mercury 826 224-2

Serenade in Blue (1964), Clarion 610

Erroll Garner Amsterdam Concert (concert November 7, 1964), Philips LP BL7717/632 204 BL

Erroll Garner Plays (1965), Ember LP FA 2011

Campus Concert (1966), MGM SE-4361

That's my Kick (1967), MGM SE-4463

Up in Erroll's Room - featuring the Brass Bed (1968), Vanguard NSLP 28123

Feeling is Believing (1970), Mercury SR61308

Gemini (1972), London XPS617

Magician (1974), London APS640

Play it Again Erroll (reissued 1974), Columbia CL33424 double album

The Elf-The Savoy Sessions (1976), Savoy SJL 2207 double album

Long Ago and Far Away (1987)

Body and Soul (1991), Columbia CK47035

The Complete Concert By the Sea (2015), Sony Music Cmg B00ZJ5QXDO

Ready Take One (2016) Octave Music/Legacy Music 536331

Biographies

James M. Doran Erroll Garner: The Most Happy Piano, Scarecrow Press, 1985. ISBN 978-0-8108-1745-6.

Wikipedia

[lkornalijnslij2]

erroll garner & martha glaser. https://www.instagram.com/p/CLeIUxOg299/?igshid=inmgtt4tic6n

[pittarchives]

“WILL THERE BE ANOTHER YEAR FOR US?”: Martha and Erroll’s First Anniversary

This post was written by Deanna Witkowski, pianist-composer, graduate student in Jazz Studies at the University of Pittsburgh, and author of Mary Lou Williams: Music for the Soul (Liturgical Press, August 2021).

Image from folder “Correspondence between Erroll Garner and Martha Glaser,” Erroll Garner Archive, 1942-2010, Box 3, Folder 2, Archives & Special Collections, University of Pittsburgh Library System.

Martha Glaser wrote this letter to Erroll Garner on May 14th, 1951, one day shy of their first anniversary of working together as manager and artist. By this point, Glaser had been on the West Coast for ten weeks on behalf of Garner, and likely wrote to him while he was on the road with his trio. Her question, “Will there be another year for us?,” may mark a renewal point in Garner’s contract where he had to decide whether or not to continue having Glaser represent him. Without knowing the history of their initial agreement, it is just as possible that Glaser is asking her question in a half-teasing tone reminiscent of a romantic couple. Throughout the letter, Glaser takes stock of the pair’s accomplishments, states her satisfaction in their work thus far, and details the minutiae of daily work she undertakes on Garner’s behalf.

In their first year together, Garner and Glaser had established goals for the pianist’s career, goals that helped to define some of the work that Glaser undertook on his behalf. She calls Garner “the number one piano talent in the jazz field” and details how she has been working tirelessly to procure bookings, to find artists to record Garner’s compositions, and to manage some of Garner’s touring logistics. She expresses the hope that he will “soon occupy a position commensurate with [his] talent.” Indeed, just five years later, Columbia Records would release Garner’s breakout live performance recording, Concert by the Sea, which would sell over one million copies in its first three years of release. Glaser was instrumental in bringing the tapes of the live recording to Columbia executives and convincing them to release the album. While Garner had been steadily moving away from club appearances to larger concert stages, Columbia had not had the foresight to record any of his live appearances. In his liner notes to the album, Columbia producer George Avakian explains, “The reason for the delay [in a live concert release] is simple. No one ever thought of recording a Garner concert before” (George Avakian, liner notes to Concert by the Sea). We can divide the types of labor outlined by Glaser in this letter into several categories: booking performance dates; advising Garner in regard to his composing, tour routing and finances; and inviting other performers to record Garner’s compositions.

Glaser tells Garner that she is adjusting her managerial style to accommodate him, conducting her work “with a little less ‘mothering.’” Yet she also has to take on the necessary role of prodding Garner: she is waiting for him to send a list of his original compositions, presumably so that she can share them with other artists. Towards the close of the letter she asks Garner, in all caps, “ARE YOU COMPOSING?” She also thanks him for sending a $600 check to fulfill their business agreement (leaving the details vague). In a separate letter dated two months later on June 17, Garner authorizes further payment to Glaser of $900 in back salary, as well as reimbursement for “all of her travel, housing, and publicity expenses since leaving New York City for the West Coast” on March 28. Later on in their relationship, Garner would have more direct authorization of Garner’s financial accounts, but in 1951, she notated each detail of financial business to Garner.

Image from folder “ Correspondence between Erroll Garner and Martha Glaser,” Erroll Garner Archive, 1942-2010, Box 3, Folder 2, Archives & Special Collections, University of Pittsburgh Library System.

Glaser also takes on the role of financial adviser when mishaps arise on the road. Glaser assures Garner that a cleaning company that ruined his clothes must be insured, asks him to send a receipt, and advises him to not “be a jerk” about the affair. She also suggests that Garner have his side musicians take a train from Portland to avoid overweight charges (probably related to flight charges for a drum kit and an acoustic bass enclosed in a heavy travel case).

It seems surprising that if Glaser was indeed functioning as Garner’s tour manager as well as his business manager that certain details were not under her purview, such as the choice of travel from Portland. Perhaps—as this was still only a year into their professional relationship—Garner had given her control over some aspects of his professional work, but withheld others.  Glaser also asks if Garner is fulfilling his scheduled in person radio and television visits, something that would again be taken care of by a tour manager. Imagining Glaser overseeing all of these details while not traveling with her client gives a sense of the many obligations that both she and Garner had to fulfill on a daily basis.

In many ways, Glaser’s role as artist manager is similar to that of a bandleader: articulating a vision; negotiating different personalities in the service of that vision; and juggling many non-musical details that make stepping onto the stage possible. From this letter, it is apparent that Glaser is working relentlessly for Garner. Going deeper into the archives, it is my hope that we will learn more from Garner regarding his feelings toward Glaser and will understand more fully the uniqueness of this particular decades-long relationship between manager and artist.

Work Cited

George Avakian, liner notes to Erroll Garner, Concert by the Sea (Columbia Records, 1956). CD and LP. Accessed February 9, 2021. https://www.cdandlp.com/en/erroll-garner/concert-by-the-sea/lp/r117444600. Permalink: https://perma.cc/32JV-NXMT 

[deepartnature]

The Radical Legacy of Erroll Garner

“If jazz polls don’t become collateral damage of COVID-19, Erroll Garner: The Octave Remastered Series (Mack Avenue) is the odds-on favorite for best reissue of 2020. It’s a 12-CD release, one for each LP that the Pittsburgh-born pianist (1921-1977) and his manager Martha Glaser (1921-2014) co-produced on their own Octave Records between 1959 and 1973. ... He debuted that megahit on a 1954 Mercury session, and would interpret it in practically every set he played for the rest of his life, usually before SRO audiences (his contract mandated that they be racially integrated) in concert halls and upscale nightclubs, where both “civilians” and cognoscenti honed into Garner’s instantly identifiable sound—melody-centric, ever-swinging—and highly developed technique. ...”

Jazz Times

W - Erroll Garner

You Tube: Erroll Garner live 63' & 64' 1:03:03

[yawpyawp]

1,2,36 & 46 pls. I am also doing nothing at work.

1. Favorite artist?DAMN THIS IS SO HARD SO I’M JUST GONNA NAME THE FIRST PEOPLE WHO COME TO MIND:Graphic Designers: Milton Glaser, Jessica Hische, Paula Scher Comic Artists: I wanna be Chris Samnee when I grow upFine Artists: Degas, Van Gogh, Michelangelo Choreographers: Martha Graham, Matthew Neenan

2. Favorite song?I hONESTLY BARELY LISTEN TO MUSIC but Can’t Keep Johnny Down by TMBG always makes me happy and would totally be the Bucky and FUBAR themesong if it ever needed one lol

36. Favorite super-villain?I think one of the BEST villains ever written is Dolores Umbridge from Harry Potter. She’s so irredeemably despicable and hating her is so visceral! 

46. Opinion on aliens?DEFINITELY REAL but have absolutely never landed on earth

SEND ME A NUMBER!!