Wednesday, December 7, 2011

South Jersey Soul Singer Howard Tate RIP


Soul singer Howard Tate dies in Burlington City apartment at 72

http://www.phillyburbs.com/my_town/burlington/soul-singer-howard-tate-dies-in-burlington-city-apartment-at/article_fae773d2-2255-5889-b096-065596c59ea0.html

TRENTON — Soul singer Howard Tate has died in his Burlington City apartment a decade after a career resurrection that followed years of tragedy and obscurity.

A spokesman for the Burlington County Medical Examiner’s Office said Tate died of natural causes Friday at age 72.

The son of a Baptist preacher, Tate was born in Macon, Ga., and grew up in Philadelphia singing gospel songs. In 2004, in a feature story published by the Burlington County Times, he was living in a home along the Rancocas Creek in Southampton.

In the late 1960s and early ‘70s, Tate had three top 20 R&B hits, including “Get It While You Can,” written by his longtime producer, Jerry Ragovoy, and made more famous by Janis Joplin.
But his own album sales suffered, and Tate claimed that he received almost no royalties from his music.

“I’d go out on the road and come back home to my wife, who would say, ‘You’re on the charts, you’re working 300 days a year, how come there’s no money?’ “ he recalled in the 2004 article.
Depressed and frustrated, Tate left the music scene, vowing to never return.

In the late 1970s, Tate’s daughter died in a fire, his marriage ended and, to ease the pain, he turned to alcohol, marijuana and cocaine. He wound up homeless, living on the streets of Philadelphia for about 10 years. Ragovoy believed he had died.

“I’ve been hit in the mouth with a brick, been on the scene with knives and guns,” Tate remembered. “I could have lost my life out there.”

In 1994, Tate said he found God and created a church to help the homeless and drug-addicted. He made his musical comeback after a fellow musician saw him in a grocery store in 2001.

His 2003 release, “Rediscovered,” again with Ragovoy producing, was nominated for a Grammy for best contemporary blues album. His last work of new material was “Blue Day” in 2008.

Monday, December 5, 2011

Blues Guitarist Hubert Sumlin RIP


Hubert Sumlin with Eric Clapton's Gibson ES-335 guitar during the Crossroads guitar festival, Chicago, 2007. Photograph: Alexandra Buxbaum/Rex Features

http://www.guardian.co.uk/music/2011/dec/05/hubert-sumlin?newsfeed=true

Of the blues that were most closely listened to in the early 60s by young guitarists such as Eric Clapton, Keith Richards and Jimmy Page, many were by Howlin' Wolf, and, of those, not a few featured a guitarist, then still young himself, who could steal a scene even from so charismatic a performer. Hubert Sumlin, who has died aged 80, thus became one of the most revered of blues guitarists, and in his later years younger musicians practically lined up to play with him or have him guest on their recordings.

Sumlin was born near Greenwood, Mississippi, and grew up across the river in Hughes, Arkansas, where he took up the guitar as a child; by his teens he was playing for local functions, sometimes with the harmonica player James Cotton. The first time Sumlin saw Wolf in action, as he told Living Blues magazine in 1989, he was too young to get into the club, so he climbed on to some Coca-Cola boxes to peer through a window; the boxes shifted and Sumlin fell into the room, landing on Wolf's head. After the gig, Wolf drove him home and asked his mother not to punish him. "I followed him ever since," Sumlin said.

At the time Wolf was working with the guitarists Willie Johnson and Pat Hare, but Sumlin was occasionally permitted to sit in. Then, in 1953, Wolf left the south for Chicago, where he would develop his music on the bustling club scene and in the studios of Chess Records. In spring 1954, he sent for Sumlin to join him, and soon afterwards the 23-year-old guitarist was heard on records such as Evil and Forty-Four, and a couple of years later the sublime Smokestack Lightning, though for a while he played second to more experienced guitarists like Johnson and Jody Williams.

Sumlin would serve under Wolf's flag for more than 20 years, a collaboration interrupted only when he briefly jumped ship to join Muddy Waters, who paid better. (The resulting argument between Wolf and Waters, squaring up to each other like two Mafia bosses contesting their territories, was vividly dramatised in a movie about the Chess blues roster, Cadillac Records.)

"Wolf had a gravelly, hypermasculine voice and Hubert a jagged, unpredictable guitar style," Wolf's biographer Mark Hoffman wrote; "the two combined musically like gasoline and a lit match." Contained within the two and a half minutes of a 45rpm single, these small explosions resonated around the world. Sumlin's lissome solo, as much rock'n'roll as blues, on the endearingly silly Hidden Charms, and his spiky phrasing and strikingly vocalised tone on more heavyweight early-60s recordings such as Back Door Man, Built for Comfort, Tail Dragger and Goin' Down Slow, ignited the imagination of trainee blues guitarists both at home and overseas. Spoonful was reworked by Cream, Killing Floor by Jimi Hendrix. "I love Hubert Sumlin," said Jimmy Page recently. "He always played the right thing at the right time."

Wolf died in 1976, and Sumlin, whom the older man regarded almost as a son – indeed, on the funeral programme he was named as such – took the loss very hard. He dropped out of music for a while, but returned to shape a career for himself, at first deliberately moving away from Chicago to Texas, where he left an impression on the Vaughan brothers, Jimmie and Stevie Ray.

Over the next 30-odd years he toured extensively in the US, Europe and Japan and made numerous albums for various blues labels, gradually revealing, and never quite overcoming, the problem that he was at heart an invaluable sideman rather than a natural leader. His conversational singing was seldom strong enough, or his own material striking enough, to grip the listener for the length of an album.

Perhaps aware of this, some producers solicited instrumentals, on acoustic guitar as well as electric, but unplugged he had less to say, though the quiet colloquy of his guitar and John Primer's on the 1991 album Chicago Blues Session had a charming back-porch serenity. Nonetheless, on Wake Up Call (1998) he seemed to rediscover the verve and unpredictability that had made his work with Wolf so exciting, while the sympathetically produced About Them Shoes (2005) skirted the issue of his coarsening voice by focusing on his guitar, in settings buttressed by admirers including Clapton, Richards and Levon Helm.

Sumlin was nominated for a Grammy four times, most recently in 2010, and was placed 43rd in a 2011 Rolling Stone poll of the 100 Greatest Guitarists of All Time. He had a lung removed in 2004. His wife Willie "Bea" Reed, whom he married in 1982, died in 1999.

• Hubert Sumlin, blues guitarist, born 16 November 1931; died 4 December 2011

Saturday, December 3, 2011

Frank Bey at the Ocean Club Cape May


We've been reading your blog and would love it if you considered posting about our client's upcoming event! Let us know if you need any additional information.

The Ocean Club Hotel is pleased to announce An Evening with Frank Bey at its SeaSalt Restaurant on Saturday, December 3rd. From 8PM- 12AM enjoy fresh seafood, specialty cocktails, and the master of the art of blues himself performing live. Bey, who also participated in the Cape May Jazz Festival, is sure to create an atmosphere of excitement. The Ocean Club Hotel is located at 1035 Beach Avenue in Cape May, NJ. For reservations please call (609) 884-7000 or visit http://www.capemayoceanclubhotel.com.
Thank you! Best regards,

Anna Antonova
R. Couri Hay Creative Public Relations

Hi Anna,

And it would be a pleasure to post your announcement about Frank Bey's show, as Frank is one of the few guys who really blew me away when I first encountered him at the Cape May Jazz Fest a few years ago.

I'm sure he did the same to Carol and Woody, who scour the nation for the best jazz acts and then bring them to Cape May.

I later learned that Frank played with some of the biggest stars in the Sixties, and then took a few decades off from performing, disenchanted with the music industry, but I'm so glad he came back and that I was fortunate enough to catch his act.

After that first show Carol invited me back to her house for a private party with the volunteers who helped put the festival together and the acts who performed, and somebody sat down at the piano in the living room and started playing, which sparked Frank to get up and sing along, and then somebody else - a female vocalist - started scatting. And Frank, being a scatter himself, started a conversation with her scatting back and forth like they were having an argument, that Frank won.

It was an amazing, impromtu performance that I will never forget.

I've seen Frank again since then at other Jazz Fests, and was glad to see that he performed at the benefit show earlier this year at Cabannas, and I hope to catch him again soon.

Keep me posted on when and where he is performing and I have no qualms about posting the information here, as I will do for any act who performs at the Jersey Shore - and contacts me: billkelly3@gmail.com

All the best,

And give my regards to Frank,

Bill Kelly


New York, NY 10024

Tuesday, November 29, 2011

Mike Pedicin, Jr. CD Release Party Friday


Mike Pedicin, Jr. CD Release Party -
Friday, December 2, 2011
Sandi Point Coastal Bistro

New on Jazz Hut Records - Michael Pedicin Ballads – Searching for Peace

CD Release Party – Friday Dec. 2, 2011 8:00 pm
Sandi Point Coastal Bistro
908 Shore Road, Somers Point, NJ

Michael Pedicin tenor saxophone
Jim Ridl piano
John Valentino guitar
Andy Lalasis bass
Bob Shomo drums

Now available through Amazon.com
CDBaby.com
iTunes and
www.michaelpedicin.com

“The cure for everything is saltwater...sweat, tears or the sea.” – Isak Dineson

www.sandipoint.com
Text Sandi 411247 To Receive discounts and event information

From the ocean to your plate – same day.
Celebrate your special occasion – private parties, bridal parties, birthdays, anniversaries or any special occasion. 3 banquet rooms (10-150)
Holiday Gift Cards Available
Attitude Adjustment 4pm – 6:3pm Drink specials $5 martinis $5 bar appetizers

Sunday – Thursday – Dinner at Dusk – All Night Dinner for 2 -$26
Sunday – Prime Rib Dinner – 3 courses for $15.95 (From 2pm)
Monday - Quizzo w/ DJ Shakedown 7pm
Tuesday - Two Sliders for $1
Fridays – Yvonne & Jack – Live music at the bar.
Saturday – Gabe Staino & Chris Rabb Film Fundraiser for “Borrowed Happiness.”
Saturday - The Frigedaires (7pm-10pm)
Saturdays - Lew London & Bob Mower Live music at the Bar (8pm-11pm)

Sunday Dec. 18 - Gina Roche CD Release Party and Performance (“Thankfully”)

Saturday, November 26, 2011

Cotton , Sumlin & Sonny Boy Williamson


James Cotton at the Club Bijou in Philadelphia (Circa 1982)

I started thinking about all this when I got an email from Billy Hector notifying his fans that his gig with Hubert Sumlin was cancelled.

From: Billy Hector
To: Billy Hector
Sent: Wednesday, November 16, 2011 6:05 PM
Subject: BH GIG ALERT
Tonight's Birthday Bash for Hubert Sumlin at Mexicali Live has been cancelled.
Hubert is not well enough to perform-
www.billyhector.com

I was sorry to hear about Hubert.

I met him at the Bijou Cafe in Philly in the early 1980s when he stopped there to see James Cotton, who I was interviewing in the backstage dressing room at the time.

I was with Billy Muller - an Ocean City NJ guitarist who played guitar with Backroads, a country rock band who often performed at Brownies, a now defunct old log cabin roadhouse in Bargaintown. Muller collected Les Paul guitars and had three or four of them, and he knew a lot of the old, black blues guitarists and also collected their LPs.

After Cotton's first show, Muller and me went upstairs and knocked on Cotton's dressing room door and he invited us in to talk before he went on for his second show. I asked and Cotton said I could tape our conversations so I turned my cassette tape recorder on and I put it on the table as we talked.

Muller did most of the talking, and got Cotton to recall his early years. Cotten said he listened to Sonny Boy Williamson's radio show out of Helina, Arkansas, and after learning to play the harp good enough he went there and Sonny Boy let him play the theme song for the King Bisquit Flower that sponsored the show.

"Hell, I'll play it for you now," Cotton said, hitting his thigh with a harp and then saying, "I got King Bisquit on my table," two or three times and then playing some harp riffs, - "I aint's done this since then," he said laughing.


At some point a women came over and wispered something in his ear, and then we continued talking, mainly about old blues men, especially guitarists, who Muller was most interested in.

When Hubert Sumlin's name came up, Billy Muller asked, "Is he still alive?"

I looked at Billy quizzically and Muller politely explained that Hubert Sumlin was guitarist with some of the old Chicago blues bands - Howlin' Wolf and Muddy Waters, and he influenced a lot of young rock guitarists like Keith Richards and Eric Clapton.

Cotton lit up and laughed, and said, "Funny you should ask about him, cause he's right outside that door, waitin' to come in and say hello."

Cotton let Hubert Sumlin in and he waltzed in with a big smile on his face and dressed to the nines in suit and tie and starched shirt and little hat, and for them it was a reunion of sorts.

Sumlin said he was living in the area with his women and had to stop by, and Cotton asked him to stick around and sit in and jam on stage during the next set.

I had the tape on the whole time, but the Persuasions - acapella group, were singing downstairs, just below the floorboards, so they sort of add a backdrop to the conversation, but I remember listing to it later and still have it around here somewhere.

In any case, that's how I met Hubert, who later came to Somers Point to play at the Bubba Mac Shack - in the 1990s into early 2002-3, before they tore the Shack down.


Bill Kelly, James Cotton, Billy Mueller


Hubert Sumlin playing guitar at the Bubba Mac Shack in Somers Point NJ


Sonny Boy Williamson on Harp
The drum reads:
KING BISCUIT TIME

Over Radio Station KFFA of HELENA, ARK

12 – PM

KING BISCUIT ENTERTAINERS

MONDAY Thru FRIDAY

J.F. CURTIS

The KBT Radio Show

King Biscuit Time is the longest running daily radio show in history, and continues to be broadcast daily on Delta Broadcasting’s KFFA 1360 AM in Helena, Arkansas. First broadcast on November 21, 1941, King Biscuit Time featured legendary Blues artists Sonny Boy Williamson and Robert Jr. Lockwood playing live in the studio. The show was named after the locally distributed King Biscuit Flour.

The distributor agreed to sponsor a radio production for Sonny Boy and his band if they agreed to endorse the flour. The agreement was made and the show has been broadcast ever since.
The original band, the King Biscuit Entertainers, often included boogie pianist Pinetop Perkins and James Peck Curtis on drums. It was the first regular radio show to feature blues, and influenced four generations of Delta blues artists whose sounds are based on the raw energy of Sonny Boy Williamson’s blues. In keeping with its tradition of broadcasting live music from the studio, King Biscuit Time still welcomes artists in the studio almost weekly.

Award-winning Sunshine Sonny Payne has hosted the show since 1951, and has been a presence on the program since its inception in 1941. By continuing to focus on a Delta blues format, King Biscuit Time has become a real anomaly true to its heritage. It has been so recognized with a prestigious George Foster Peabody Award, presented to the station in 1992 for outstanding achievement in the field of radio and broadcast journalism through its continuous support or ‘an original American art form.’ Sonny Payne has received an impressive array of awards and accolades, including the Blues Foundation’s “Keeping the Blues Alive” award for lifetime service and the Arkansas Broadcasters Association’s Pioneer Award.

The direct influence of the show can be found throughout the music industry. Examples of this include the syndicated rock show, King Biscuit Flower Hour, and the largest free blues festival in the south, the King Biscuit Blues Festival. First organized in 1986, the festival annually welcomes blues fans to Helena, AR, from around the world to a three-day event that features several stages and showcases veteran blues performers along with today’s rising stars. The festival in Helena continues today, but has changed its name to the Arkansas Heritage and Music Festival.

http://www.kingbiscuittime.com/?page_id=7

The 30-minute long live radio program is broadcast at 12:15 every weekday and was named after the local flour company, King Biscuit Flour. The local grocery distributor financed the show at the behest of Williamson in exchange for endorsements and naming rights. KFFA was the only station that would play music by African-Americans, and it reached an audience throughout the Mississippi Deltaregion and inspired a host of important blues musicians including B.B. King, Robert Nighthawk, James Cotton, and Ike Turner. The show's 12:15 time slot was chosen to match the lunch break of African-American workers in the Delta.

King Biscuit Time celebrated its 16,000th broadcast on June 22, 2010. KBT has more broadcasts than the Grand Ole Opry andAmerican Bandstand. Since 1951 the program has been hosted by the award winning "Sunshine" Sonny Payne[1] who opens each broadcast with "pass the biscuits, cause its King Biscuit Time!" Before Payne, the show was hosted by Hugh Smith from 1943-1951. Over the years the biggest names in blues have been associated with the program, and important blues artists continue to perform live.

The King Biscuit Flower Hour is a one hour syndicated rock and roll radio program the name of which was derived from King Biscuit Time. Levon Helm, drummer for The Band, has credited King Biscuit Time, and in particular James Peck Curtis, for inspiring his musical career.


Hubert Sumlin and Levon Helm at the Bubba Mac Shack

Monday, November 21, 2011

From the Top at the Ocean City Music Pier


This week PBS Radio's show From the Top, hosted by Christopher O'Riley, features local musicians on a program that was recorded earlier this year with the Ocean City Pops orchestra at the Ocean City Music Pier. The nationally syndicated show that promotes young people playing classical music, can be heard on WRTI Temple University's station, and in Ocean City on WRTQ 91.3.

This program, which was broadcast on Sunday afternoon, will be aired again on Friday at 7 pm, and can also be heard anytime over the internet at their web site, http://www.fromthetop.org/radio/thisweek, where it is archived.


The show includes the Ocean City Pops, under the direction of William Scheible, and solo performances by sixteen year old violinist Amy Semes, from Broomall, Pa., and eighteen year old trumpeter Jacob Hernandez, from Philadelphia, as well as Scheible, who also plays trumpet in a duet with Hernandez.

Christopher O'Reily gives Ocean City some good plugs and Amy's 102 year old great uncle, who lives in Ocean City, recalls patronizing the Ocean City Music Pier as a child, and is a big fan of classical music and opera. They talked with him and got him to admit the secret of his longevity - a Scotch a day, and listening to opera.


Amy has two sisters who also play the violin, which was selected as the instrument of choice by her parents because it was easy to carry around. She tells the story about how once, when she got hurt, her sister had to substitute for her at a performance that she too had to play, so her sister tied her hair back for once performance and let it down for another, and people didn't know the difference.

Fernandez, a protege of S, acknowledges that his friends come to his performances, but don't particularly care for the classical music, some of which is a century old.

If you go to the web site, besides listening to the show, there's also a short videotape of the Polaris Quartet, from Dayton, Ohio, rehearsing before they go on, giving a vibrant and spontaneous performance on the boardwalk outside the music pier.

As noted on the From the Top web site:

Show 239 | Ocean City, New Jersey
Recorded: Wednesday, August 31, 2011

This week, From the Top is at the Music Pier in Ocean City, New Jersey, joined by the Ocean City Pops under the direction of William Scheible. You'll hear a 16-year-old violinist play Wieniawski with the orchestra and an 18-year-old pianist play Bach. Also, the junior division winners of this year's Fischoff National Chamber Music Competition join Christopher O'Riley to perform Dvořák and a teenage trumpeter teams up with Pops conductor William Scheible to play the music of Vivaldi.

Performers and repertoire:
Violinist Amy Semes,16, from Broomall, PA performs I.Allegro Moderato from Violin Concerto No. 1 in F-sharp minor, Op 14 by Henryk Wieniawski

Trumpeter Jacob Hernandez, 18, from Philadelphia, PA and Ocean City Pops conductor and trumpeter William Scheible perform I. Allegro from Concerto for 2 Trumpets in C by Antonio Vivaldi

Polaris Quartet (violinist Jenny Lee, violin, 17 from Bloomington, IN; violinist Billy Fang, violin, 18 from Dayton, OH; violist Demi Fang, 15, from Dayton, OH; and cellist Josh Halpern, 17, from Dayton, OH) performs I. Allegro, ma non tanto from Piano Quintet in A major, Op.81 by Antonín Dvořák

Pianist Kevin Sun, 18, from Carmichael, CA Performs I.Overture from Overture in the French Style, BWV 831 by Johann Sebastian Bach

Cellist Austin Huntington, 17, from South Bend, IN Performs I. Andante – Allegro vivace from Sonata No. 4 in C major, Op. 102 by Ludwig Van Beethoven


More on CHRISTOPHER O'RILEY

As a prestigious artist, pianist and national media personality, Mr. O'Riley has dazzled the world over on stage, the radio and his records. His memorable interpretations of traditional and popular repertoire make him a cherished bridge between musical tastes, genres and audience worldwide.

Mr. O’Riley’s exquisite and poetic interpretations have granted him phenomenal reviews and several recording contracts with labels like Sony Classical. His warm personality has brought him to host NPR’s “From the Top” for the last 10 years. Christopher O’Riley differs from other artists in two ways. First, his repertoire spans classical styles, from Rachmaninoff, Beethoven, Chopin, Ravel and Busoni to contemporary artists such as Radiohead, Nirvana, Pink Floyd and Elliott Smith. He is the definition of a Classical Crossover artist. Second, O’Riley 's unique, passionate and heartfelt piano interpretations of both classical and popular music create unforgettable musical performances and astonishing audience experiences. His most famous recording, Radiohead “True Love Waits” album, was awarded four stars in Rolling Stone magazine, along with many other reviews available in the attached press kit. Most importantly, it has also created a dedicated and diverse fan base that appeals to all ages, uniting them through music.

From his groundbreaking transcriptions of Radiohead to his powerful interpretations of repertoire classic and contemporary, pianist Christopher O’Riley has redefined the possibilities of classical music. He has taken his unique vision to both traditional classical music venues and symphonic settings, as well as to entirely new audiences on the radio, at universities and even clubs. As host of the most popular classical music radio show on the air today, National Public Radio’s From the Top, Mr. O’Riley works and performs with the next generation of brilliant young musicians, demonstrating to audiences, with humor and a lack of pretense, that these young artists are as characterful and diverse in their personal lives as they are in their music-making. In 2007, From the Top was filmed for public television in Zankel Concert Hall at Carnegie Hall and debuted on PBS in the spring. The series is now airing its third season.

An interpreter and arranger of some of the most important contemporary popular music of our time, O’Riley lives by the Duke Ellington adage, “there are only two kinds of music, good music and bad.” His first recording of Radiohead transcriptions, ”True Love Waits” (Sony/Odyssey) received 4 stars from Rolling Stone and was as critically acclaimed as it was commercially successful. His second set of music from the British alt-pop outfit, entitled “Hold Me to This: Christopher O’Riley plays the music of Radiohead,” was released on World Village/Harmonia Mundi to a similarly enthusiastic response. In April 2006, his third set of transcriptions was released on the same label. Entitled “Home to Oblivion; An Elliott Smith Tribute,” Mr. O’Riley this time tackles the deeply emotional and complex work from the troubled singer/songwriter who died prematurely in 2003. His most recent recording, released in April 2007 and entitled “Second Grace: The Music of Nick Drake,” is a disc of transcriptions of the music by the British folk singer. Nick Drake died in 1974 after releasing just 3 albums, yet influenced two generations of songwriters in his wake.

Just as his radio show and his contemporary classical recordings have created extraordinary buzz, so have his performances in traditional classical context. In November 2004, Mr. O’Riley toured the U.S. with the world-famous Academy of St. Martin in the Fields Chamber Orchestra visiting 10 cities in 2 weeks, playing Bach, Mozart and Liszt concerti. He has appeared with the Los Angeles Philharmonic at the Hollywood Bowl, the Minnesota Orchestra, the symphonies of Pittsburgh, Detroit, Colorado, Atlanta and Baltimore. The illustrious group of conductors with whom he has collaborated includes Marin Alsop, David Zinman, Leonard Slatkin, John Williams, Neeme Järvi, Bobby McFerrin, Hans Graf, Yoel Levi, Hugh Wolff and Andrew Litton.

Performances in the 2008-2009 season include tours with James Galway and cellist Carter Brey, recitals at the University of Colorado Boulder, Duke University, Roy Thomson Hall in Toronto, and orchestral engagements with the Baltimore Symphony, New Mexico Symphony, and Atlantic Classical Orchestra. At the Miller Theatre in New York City, Mr. O’Riley will showcase his own arrangements alongside Classical repertoire in three programs juxtaposing works of Shostakovich (Preludes and Fugues) with Radiohead, Claude Debussy (Images and Estampes) with Nick Drake, and Robert Schumann (Arabeske and Kreisleriana) with Elliott Smith. This season also finds O’Riley playing recitals in many of the great European cities: London, Paris, Munich, Berlin, Salzburg and Vienna.

An enthusiastic advocate of new music, Mr. O’Riley has twice participated in the annual “Absolute Concerto” concerts at Avery Fisher Hall, a brainchild of O’Riley’s fan in the 80’s, Andy Warhol, premiering works by Richard Danielpour and Michael Torke. In 1999-2000 he performed Michael Daugherty’s “Le Tombeau de Liberace” with the Detroit Symphony and with the Saint Paul Chamber Orchestra, both in St. Paul and on tour. He has also recently given premieres of works by Aaron Jay Kernis, including his piano quartet, “Still Movement with Hymn,” (also recorded for Decca’s Argo label) and the “Superstar” Etude No. 1, inspired by the pianism of Jerry Lee Lewis.

From early in his career, Mr. O’Riley was honored with many awards at the Leeds, Van Cliburn, Busoni and Montreal competitions, as well as an Avery Fisher Career Grant. He was also a finalist at the Van Cliburn International Piano Competition in 1981. Among his many solo releases are a Scriabin disc for Image Recordings and an all-Stravinsky disc on Elektra Nonesuch, featuring “Three Movements from Petrouchka” and Mr. O’Riley’s first foray into transcriptions with his own versions of “Apollo” and “Histoire du Soldat.” Other recordings include an RCA Victor Red Seal release of French repertoire for flute and piano with James Galway; his audacious debut disc of music of Busoni including the monumental ‘Fantasia Contrapuntistica’, a disc of Ravel’s solo works; a recording of Beethoven Piano Sonatas; a collaboration with cellist Carter Brey entitled “Le Grand Tango”; and the premiere recording of P.D.Q Bach’s “The Short-Tempered Clavier” by the fabled composer-satirist Peter Schickele. Other contemporary composers he has recorded include Richard Danielpour, Robert Helps, Todd Brief, Roger Sessions and John Adams.

In addition to his own transcriptions, Mr. O’Riley has ventured into alternate territory on tour with other classical artists. He has developed programs with fellow pianists: “Heard Fresh: Music for Two Pianos,” with the jazz pianist Fred Hersch; and “Los Tangueros,” with the Argentinian pianist Pablo Ziegler, a program of two-piano arrangements that feature Astor Piazzolla’s classic tangos. In 1999 he collaborated with choreographer and director Martha Clarke, who staged several stories of Anton Chekhov set to the piano works of Alexander Scriabin, performed live on stage by Mr. O’Riley. This production, titled “Vers la Flamme,” toured Europe and the United States, and was presented by Jacob’s Pillow, Lincoln Center and the Kennedy Center, among others.

As Mr. O’Riley continues to create new directions in which to take the solo piano recital, the demand for his work internationally has continued to grow. He has performed his transcriptions at major jazz festivals in Istanbul, London, San Francisco and Sicily as well as on a tour of the U.K. He recently appeared at the Belfast Festival and he debuted in Australia at the 2006 Sydney Festival.

O’Riley studied with Russell Sherman at the New England Conservatory of Music. Christopher O’Riley splits his time between Los Angeles and rural Ohio. His radio and tv show can be found on-line at www.fromthetop.org. His personal website is at www.christopheroriley.com.

Monday, November 7, 2011

Cape May Jazz Fest Benefit Shows



Benefit concerts for Friends of Cape May Jazz

They may have announced the cancellation of the fall edition of the Cape May Jazz Festival, but that won’t stop the musicians from playing anyway, as some of the past performers have gotten together to put to put on a series of shows to benefit the financially ailing festival.

It wasn’t long after festival founders Carol Stone and Woody Woodland were ousted by the board that they cancelled the fall festival, so some administrative problems must still be solved, but for some of the musicians, the show must go on.

Led by Cape May locals Geno White and Jay Bethel, they recruited fellow guitarist Tom Larson, singer Frank Bey and trumpeter Eddie Morgan, and Martini Beach and Cabanas agreed to provide the venues at Decatur and Beach Drive, so the makeshift and abbreviated Cape May Jazz Fest will take place this coming weekend, Friday and Saturday, November 11 and 12th.

Geno White [http://www.genowhite.com/genowhite.cfm] will open the proceedings on Friday at 6 pm at Martini Beach, the upstairs fine dining establishment with the glass porch that overlooks Beach Drive, with the Tom Larrson Blues Band picking up the beat downstairs at Cabanas at 9:30 pm.

Pat Martino calls his protégé Geno White “a complete original,” and indeed he is, as reflected on his recordings and live performances, which usually include TC Kissinger on electric upright bass and Seth Johnson on drums.

Downstairs at Cabanas (9:30), the electric Tom Larson Blues Band [http://www.tomlarsenband.com/] will feature Larson on slide guitar. Larson picked up the Delta Blues style of the legendary Robert “Crossroads” Johnson, Blind Willie McTell and Son House.

Cabanas is where the blues acts are usually found at Cape May Fests, and Frank Bey
[http://www.frankbeymusic.com/ ] will feel quite at home when he sings the blues at the Saturday afternoon matinee (1pm). Originally from Georgia, Frank began singing gospel in church before tagging along on tour with the late great Otis Redding. After starting his own band, and experiencing a bad record deal, Bey stopped singing and the music industry for twenty years before returning in 1996. Carol and Woody brought him to Cape May and after his stunning performance he got some steady work at local clubs, including the Boiler Room at Congress Hall.

While Bethel, Larson and Bey emphasize the blues, horn man Eddie Morgan will jazz things up at Martini Beach (6 pm). Morgan [ www.nextcat.com/eddiemorgan] is known from playing in church with the Jazz Vespers with a quartet that includes Darryl Robinson on keys, Keith Hollis, on drums, Derek Cason on bass and guitarist
Tony Marshall.

Jay Bethel and Blue Bone [http://www.bluebone.net/ ] brings the blues back to the table at Cabanas (9:30 pm). Bethel has made Cape May his home, and also plays locally as a solo act, but really cooks with his band.

Martini Beach used to be Maureen’s, once rated the best restaurant in the state, a standard now maintained by Chef & General Manager, John Siuta, so you have the opportunity of not only seeing a great blues and jazz show, but enjoy a fine meal at the same time.

Monday, October 31, 2011

Bill Haley, Jr. with the Comets


Bill Haley, Jr. with the Original Comets at Bubba Mac Shack in Somers Point, NJ

Bill, Jr. looks just like his dad. I met him at a Philadelphia Folk Fest sometime in the 1980s, and when the Original Comets got back together he showed up at their shows and they asked him to join them on stage and sing a few songs, which he did on more than one occasion. These photos are from the now defunct Somers Point Bubba Mac Shack, where the Original Comets played around Labor Day weekend for four or five years in a row. Bill, Jr. also jammed with them at the Gloucester Rock & Roll Fest.



Photos by Ralph F. Carpineta (EHT)

Friday, October 28, 2011

Wednesday, October 26, 2011

Bruce at the Pony


Bruce Springsteen performs 25 songs at private benefit at the Stone Pony on Saturday night

Published: Sunday, October 23, 2011
http://www.nj.com/springsteen/index.ssf/2011/10/bruce_springsteen_performs_25.htmlBruce

Springsteen played a private benefit show for Boston College at the Stone Pony in Asbury Park on Saturday night. Springsteen's oldest son, Evan, attends Boston College.

Springsteen, backed by a band which included E Streeters' Roy Bittan on keyboards and Max Weinberg on drums as well as Bobby Bandiera, played 25 songs over two hours and 35 minutes. There was a four-piece horn section.

Also joining in for a few songs was J.T. Bowen, the lead singer for Clarence Clemons' Red Bank Rockers from the 1980s. Bowen had played with Springsteen at the Wonder Bar on July 17.

Among those in attendance were N.J. Governor Chris Christie, actor Tim Robbins and NBC news anchor Brian Williams.

The show began at 8:10 p.m.

Set list
1. 634-5789
2. Working on the Highway
3. Lucky Day
Bruce told a story about meeting some fans from Sweden over the summer at the Wonder Bar. The fans told him they traveled to see Asbury Park and to see him.
4. Growin' Up
Bruce told the crowd he wrote this song six blocks from here in an abandoned beauty parlor on Cookman and Main avenues in Asbury Park.
5. Spirit In the Night
Bruce went out into the crowd and jumped on the front bar.
6. Working on a Dream
7. Seven Nights to Rock
8. Savin' Up (with J.T. Bowen)
9. A Woman's Got the Power (with J.T. Bowen)
10. Darlington County.
11. Because the Night
Great guitar playing by Bruce
12. Waiting on a Sunny Day
Bruce came out and jumped on the back bar by the bathrooms.
13. Fourth of July Asbury Park (Sandy)
14. Pink Cadillac
15. Talk to Me
16. 10th Avenue Freeze-Out
17. Midnight Hour (with J.T. Bowen)
18. Soul Man (with J.T. Bowen)
One of the highlights of the show
19. Dancing in the Dark
20. Glory Days
21. Born To Run
22. Rosalita
23. Havin' A Party (with J.T. Bowen)
24. Twist and Shout
25. Thunder Road (solo acoustic).

Show was over at 10:45 p.m.
Springsteen will be playing two shows with Joe Grushecky in Pittsburgh on Nov. 3 and Nov. 4.

Monday, October 10, 2011

Paul McCartney Marries Jersey Girl



Paul McCartney and New Jersey born trucking heiress Nancy Shevell exchanged "Love Me Do" vows Sunday in London.

Hundreds of fans showered the newlyweds with cheers and flower petals after their modest civil ceremony at Old Marylebone Town Hall.

The 69-year-old pop icon wed the 51-year-old New Jersey-born Metropolitan Transportation Authority board member in the same municipal building where McCartney married his first wife, the late Linda Eastman, in 1969.

There were only 30 guests.

SHHH! SECRET CELEBRITY WEDDINGS

"I feel absolutely wonderful," McCartney said of his long and winding road that led him back to the altar of love after settling his bitter divorce from his second wife, Heather Mills, in 2008 for more than $37 million.

"I feel terrific. I feel married," added McCartney, as his blissful bride, the daughter of New Jersey trucking magnate Myron (Mike) Shevell, looked on.

Shevell wore an ivory silk long-sleeved gown designed by McCartney's daughter Stella, with a white flower tucked into her long, chestnut hair. McCartney donned a blue suit that was also designed by his daughter.

Sir Paul's brother Mike served as the best man, and McCartney's 7-year-old daughter, Beatrice, his child with Mills, was a flower girl. She was dressed in a pink wool coat.

HERE COME THE BRIDES: STARS TIE THE KNOT

Shevell is an Edison, N.J., native who lives on the upper East Side. She has served on the MTA board since being appointed in 2001 by then-Gov. George Pataki, and is also a vice president of New England Motor Freight Inc., her family's trucking company.

A divorcee, Shevell was married to attorney Bruce Blakeman - a Republican who made unsuccessful bids for state controller and U.S. senator - for more than 20 years. They have a son, Arlen, 19.

But Sunday, Shevell only had eyes for her new man: McCartney, one of the most successful and celebrated musicians in the world. In a flashback to the days of Beatlemania, the couple waved and blew kisses outside the town hall before hopping into a burgundy Lexus for a garden reception and all-vegan meal at McCartney's home in the St. John's Wood neighborhood.

Shevell and McCartney have known each other for years - she has a summer home in East Hampton, L.I., and he has a place in Amagansett, L.I.

They were first spotted being lovey-dovey in 2007, when he and Mills were already separated, at a South Fork sushi joint. They got engaged in May, sealing the deal with a hefty 1925 Cartier solitaire sparkler.

Beatles drummer Ringo Starr - the only other surviving member of the Fab Four - attended the afternoon wedding ceremony, as did George Harrison's widow, Olivia. Other guests included Barbara Walters, Ronnie Wood from the Rolling Stones and Twiggy, the iconic 1960s supermodel.

The celebration was held on what would have been the 71st birthday of John Lennon, who was gunned down in 1980 outside the Dakota on the upper West Side. His widow, Yoko Ono, did not attend the wedding.

With News Wire Services

Sunday, October 2, 2011

Cape May Jazz in Distress


Carol Stone and Woody Woodland. (Cape May Herald Photo)

I was there at the conception, when Carol and Woody started the Cape May Jazz Fest. I remember them sitting at the Shire Tavern and talking about the festival they experienced in Delaware and having a vision of a similar affair in Cape May.

I lived at Cape May Point at the time, and saw many great jazz shows at Wayne Persanti's Shire Tavern, where Woody sometimes worked as a doorman, checking IDs and evicting unruly patrons.

I remember the first few events, not even festivals, but just one or two show events and then watched it grow.

There were some really terrific shows, and some festivals that stand out as truly great events in the history of Cape May. Then being invited back to Carol and Woody's home for a private party on Sunday night afterwards, when many of the performers performed again in their living room around the baby grand piano. It was an honor to be there and now it is very sad that they have been forced out of the organization they gave birth to. They were to be honored at this fall's festival in November, but now there won't be a festival in November, as the organization reorganizes.

Carl and Woody were originally from Philadelphia, where Woody served in the city administration but appreciated good music, especially jazz, as did Carol. When they started the festival they drew first on the fine acts they knew as friends from either the Philadelphia clubs or the Shire Tavern, where Piersanti, a former Philadelphia policeman, made jazz his motif.

Among the acts who played the Shire that I recall are sax and bagpipe player Rufus Harley, Monette Sudler, the first lady of Jazz guitar, Grover Washington's band, Avila, a South American Aztec and Pat Martino, who spent one summer with the house band on his rebound from a brain anuraism. He had lost much of his memory and had to slowly teach himself his own songs. A decade later he came back to Cape May as the headliner at the Jazz Fest, selling out the Convention Hall.

The last time I saw Carol and Woody was at the Bubba Mac Blues Fest at the Atlantic City baseball stadium, and they often traveled to other jazz and blues festivals to scout out new acts and see what was hot, and then book them for the Cape May fest. The Cape May Jazz Fest was such a success they began to hold it twice a year, in the spring and fall when the hotel rooms and restaurants were usually empty, and thus providing a boost to the local economy in the off-shoulder seasons.

They also had good rapport with the local business owners, especially the bars and restaurants that featured the festival acts, like the Shire, Carney's and Congress Hall.

The Shire was eventually sold and its liquor license moved to Congress Hall, where Curtis Bashaw brings in many of the types of acts that played the Shire. Bashaw also sat on the board of directors of the Jazz Fest and supported it in any way he could.

The late Mrs. Carney, at Carney's on Beach Drive also supported the Jazz Festival in a big way, providing both of her rooms and stages for the festival for the whole weekend. While the bartenders complained that the jazz fans were a little more stiff and tight with their change than the rock & rollers, the Carney family understood how important the jazz festival was for the entire town. I remember sitting next to Mrs. Carney by the kitchen door in the Other Room, and her saying she thought the Jazz Fest was wonderful and pretty much gave Carol and Woody carte blanche.

The Cape May Jazz Fest brought some terrific headliners to Cape May, including Chuck Mangone, Mose Allison and other popular and award winning acts, and introduced us to some previously unknown but special talents like Brian Trainer.

Carol and Woody didn't just bring in big acts from out of town, they also showcased the local talent, especially the leader of the Cape May Coast Guard band, Pat Martino's protege Geno White, the Cape May Diamonds blues band and Harp on Sark - the barback and candleman who lived above the Shire.



And many thanks to the Gazzette's Bill Barlow and Jack Fichter of the Herald for reporting on the Festival's status in their stories archived below.

Bill Kelly billkelly3@gmail.com

Jazz Festival reorganizes, struggles with debt

Written by Bill Barlow http://www.shorenewstoday.com/snt/news/index.php/cape-may/cape-may-gazette/16283-jazz-festival-reorganizes-struggles-with-debt-.html

No fall festival planned

Thursday, 15 September 2011 03:08

CAPE MAY – As 2011 began, the Cape May Jazz Festival touted its award for the state’s favorite music festival and looked forward to its 35th festival in Cape May that spring.

But according to several sources the festival is now struggling to reorganize and dig out from a mountain of debt.

Just how much debt is hard to confirm, but there will be no fall jazz festival this year, according to local sources. Members of the festival’s 10-member board of directors hope to have a jazz event and fundraiser in November instead, and to resurrect the festival in April for the annual spring event.

Linda Steenrod, a member of the board of directors and a former Cape May City councilwoman, said this week that there would be no fall festival, and that the board was in the process of reorganizing.

“We’re trying to get some very critical financial things straightened out,” she said. “The board kind of dissolved a couple of times, but now it’s been reinvigorated with new blood, and people who are really committed.”

The issue comes down to money and paperwork, she said. Steenrod could not give a figure for how much the festival owes, but said there are also issues with audits and paperwork owed to the state.

“The festival has kind of neglected a few things. We have obligations that need to be fulfilled,” she said.

“Substituting a single special event for the full festival this November will allow us to revamp administration and redirect marketing efforts,” said Oscar Johnson, president of the Friends of Cape May Jazz board, in a prepared statement this week. “We anticipate returning in April 2012 with a full format and the sort of exciting musical experience the Festival has become known for.”

For now, there is no answer at the main number for the Cape May Jazz Festival, and the festival’s website has not been updated since the spring festival.

This spring saw fewer venues for the festival, but at the time organizers indicated that attendance was up, and headliner Kevin Eubanks received good reviews, as did other performers.
The board has appointed an audit committee that will work on finances, and try to get a clearer picture of the festival’s financial situation. Steenrod said she could not give any information on the festival’s finances, but she acknowledged that the situation is serious, an assessment confirmed by several other sources.

One person familiar with the festival, who asked not to be identified, said the event got hit by a “perfect storm of problems.” The festival’s main venue, the Cape May Convention Hall, was shut down in 2008 over fears for the stability of the floor, while at the same time the economy went into recession. That meant that grant money dried up, and so did donations, while attendance dropped when fewer people could afford tickets.

Convention Hall has since been demolished. Cape May plans to build a new Convention Hall, but it has not been available as a venue for years. Festival organizers participated in creating plans for a new hall, along with residents and other organizations, but the building had long been home to the festival’s headliners.

The first step in rebuilding the festival will be to get a detailed picture of the current state of the festival’s finances, and then to go to the festival’s sponsors to try to convince them to continue to support the festival, according to those familiar with the situation.

Two of the event’s biggest supporters are Bank of America and the New Jersey State Council on the Arts.

A spokeswoman from the State Council on the Arts passed questions on to festival director Salvador Riggi.

Attempts to contact Riggi were not successful. The number given for him at the jazz festival’s website was disconnected. The Council on the Arts spokeswoman, Allison Tratner, said he had told her he remains the director and that he would contact the Gazette to discuss the future of the festival, but after several days there was no call or message from Riggi.

Other sources had indicated that he was no longer with the festival, and Steenrod would not say one way or another.

“I would rather not get into that,” Steenrod said.

No one from Bank of America was available for interview this week, but the bank released a prepared statement from Bob Doherty, the Bank of America New Jersey president:
“We are proud to include the Cape May Jazz Festival among the many wonderful arts programs we support here in New Jersey. For years, the festival has been a destination for jazz fans of all ages and backgrounds, and serves as an important economic driver for Cape May and surrounding communities. We look forward to an update from festival organizers on next year’s program, and hope they are able to build on past success.”

Bank of America has been the festival’s lead sponsor since 2002. On Monday, the bank announced an ongoing restructuring that will mean cutting some 30,000 jobs, with the intention of cutting billions in spending over the next few years, but bank officials gave no indication that would affect future giving to the festival.

A Bank of America spokesman said questions about the fall festival should be asked of the local organizers.

Cape May officials have long praised the festival and described it as both an important part of the local community and as a means of bringing visitors to Cape May inns and restaurants in the off season.

The festival was founded in 1994, spearheaded by Carol Stone and Woody Woodland, who had the idea after returning from another festival the year before. The two remained a major force in the festival through much of its history, and fended off at least one attempt to remove them from the board, which took place in 2008 when they were out of the country.

Last year, the two founders resigned from the board. This week, Steenrod said that they resigned voluntarily, but in various interviews after the resignation, Stone and Woodland said they were forced off the board.

Festival officials said at the time that a change was necessary to keep grants coming, because the agencies that give the grants were skeptical of organizations in which the founders remained in charge, and of organizations in which there was no clear line of succession.

Steenrod praised the festival founders this week.

“They did a wonderful thing. I hope they will support the efforts to reorganize the festival, because it’s their legacy,” she said.

Steenrod said she joined the festival’s board of directors two or three years ago, but said she had been involved, stepped down, and rejoined the board more than once. She said there are very committed members of the board now, and that they recently voted new by-laws for the organization.
The former board “fell by the wayside,” Steenrod said.

The new board includes some former members and some new people, she said, including some who had served on the board before. There is also flexibility in the number of board members, she said. Right now, there are 10 members, but it could be increased or reduced as needed under the bylaws.
“I told Carol (Stone), I don’t know how to run a festival,” she said, citing Stone’s years of experience with the festival. “I’m doing this from the heart, because I love the festival and I don’t want to see it dissolve.”

She said she hopes there will be a spring Cape May Jazz Festival come April.
“It took a number of years to get to this point, and its going to take a number of years to make it right,” Steenrod said.

Cape May Jazz Festival Founders Say They Were Forced Out of Organization
http://www.capemaycountyherald.com/article/arts+and+entertainment/cape+may/66654-cape+may+jazz+festival+founders+say+they+were+forced+out+organization

Arts and Entertainment |
Fri, 10/01/2010
By Jack Fichter

CAPE MAY — It’s like a long popular tune that suddenly is played with a sour note.

The founders of the Cape May Jazz Festival Carol Stone and Woody Woodland resigned from the organization in June.

Woodland told the Herald they were forced out of the organization they founded.
“The group that took it over seemingly want to discredit us for the 17 years of success that we’ve had,” he said.

Woodland said their photos were removed from the Cape May Jazz Festival website by the board of directors. He said he believed the board began to resent Stone and himself.

“They just got sick and tired of Woody and Carol getting the credit for this,” said Woodland. “We gave them more credit than they deserved because they didn’t do anything.”

“I can give our volunteers more credit than the board,” he continued.
Board meetings were called in secret when Woodland and Stone were out of the country on vacation, he said.

Woodland said board members treated Stone with a great deal of disrespect and meetings were punctuated by angry outbursts. Anything Stone suggested was shot down by the board, said Woodland.

He said he believed racism and sexism was involved with their ousting from the organization. At some point, he and Stone would have retired from the festival and helped with a smooth succession but now that won’t happen, said Woodland.
He said he feels the board is “trashing our legacy.”

“I was the cause of thousands of people coming here spending millions of dollars here,” said Woodland.

He said Stone had the expertise to handle many details while he publicized the event. Woodland said they visited other jazz festivals, clubs and churches in other cities to attract an audience to Cape May.

Woodland said the board turned the festival staff against them.

“We gave them their jobs and got them health insurance and they literally turned them against us,” he said.

Stone said it was decided at an April board meeting, the jazz festival’s headlining band would play at the Grand Hotel of Cape May in November rather than bus the audience to the auditorium at Lower Cape May Regional High School. She said the new board members have since moved the headlining show to the gymnasium of Star of the Sea School in Cape May.

Woodland said Cape May Jazz Festival President Gene Boyd admitted to another newspaper a conspiracy was in place to remove them from the board.

Jazz Festival Board member Lois Smith told the Herald the board wanted to give Woodland and Stone “the privilege of being advisors but step back and let the board make some decisions.”

“We had nothing to say and as a result our funding was falling,” she said.
Smith said funding sources were aware how well the festival had operated but said some adjustments were needed and they preferred to work with a “board-generated operation.”

Smith said Woodland and Stone made the decision to resign, “nobody told them to get out.”

She said their names are still in brochures for the festival as founders.
Jazz Festival Executive Director Sal Riggi said when he took office two years ago, he made it clear there had to be a transition of the organization from “founder run to board run.” He said an attempt to remove Woodland and Stone in 2008 when they were out of the country, by a previous executive director, was done in an inappropriate manner. He said the bottom line was most sponsors do not want to see an organization run by founders after about 10 years of operation.
Riggi said when he became director, Stone and Woodland were agreeable to a change.

“After about a year they began sending signals that they did not believe a transition was necessary,” he said.

Riggi said he made a lot of changes in fiscal practices. He said Stone was conducting business without consulting the board and was resistant to changes being implemented.

Riggi said he wrote a financial stabilization plan when he served as treasurer to strengthen the organization. He said sponsors and the state raved about the plan, which included a transition over a two-year period.

“Carol and Woody did a great job putting this organization together, it is their baby,” said Riggi. “The hardest transition is going from founder to board run.”
He said the board made it clear after the April festival the transition would be completed at the June reorganization meeting. Riggi said Woodland and Stone fought the matter.

Riggi said he has their letter of resignation. He said the plan was Woodland and Stone would step down from the board and have emeritus status and be honored at the November jazz festival.

Riggi said Woodland and Stone sent letters to sponsors, the state and musicians saying they were forced out of the organization and accused the board of being racist. He said the matter may be turned over to attorneys if it continues.

Riggi said state and corporate sponsorship of the festival has increased recently.
“Long term, we’re going to come out much stronger,” he said.

Jazz Festival President Gene Boyd said Stone and Woodland did not want to live with new financial procedures being put in place and resigned.

“It was kind of run like a sole proprietorship and it really can’t be because it is not a sole proprietorship, it is a not-for-profit 501C3 corporation, so there are things we need to adhere to,” he said.

He said Stone and Woodland gave the organization a great foundation to build on.

“We’re not opposed to them having a jazz festival but we know it will never reach the magnitude which we established,” said Woodland.

Tuesday, September 27, 2011

Mike Pedicin, Jr.'s New CD "Ballads - Searching for Peace."


This is the cover of one of Mike Pedicin's albums. His new album will be released on October 18.

Mike Pedicin, Jr.'s New CD "Ballads - Searching for Peace."

Local jazz enthusiast and saxophone player Mike Pedicin, Jr. will release his tenth recoding, “Searching for Peace,” on October 18.

As a child Pedicin played a toy saxophone on the stage at Bay Shores in Somers Point at the feet of his father Mike Pedicin, Sr., also a sax player whose hit song, “Shake A Hand” made No. 1 on the pop charts in 1957.


"I idolized my dad," Pedicin says. "He allowed me the freedom to learn about music, the saxophone, and life itself -- the way I needed to learn it."

While Pedicin, Sr. played the alto sax, preferred rock & roll and stayed close to home, Mike Jr. liked the tenor saxophone, played jazz and enjoyed traveling the world on tour with the best jazz bands in the country, including Maynard Ferguson, Stevie Wonder, David Bowie, Dave Brubeck and Pat Martino.

When Pedicin Jr. was 13 he says he had heard saxophonist Willis "Gator Tail" Jackson in person and Coltrane and Cannonball Adderley on record, and just knew he wanted to spend his life playing saxophone. By the time he was 20 Pedicin began playing with the horn section at Philadelphia's Sigma Sound Studios, working for Kenny Gamble, Leon Huff, and Thom Bell, playing on recording sessions with such artists as the Spinners and Lou Rawls.

Pedicin made his first album, Michael Pedicin Jr. (on Philadelphia International records) in 1980, which included the hit "You,” and then went on tour with “Take Five” Dave Brubeck, and then became an performing-executive in Atlantic City casinos, hiring orchestras and playing with such singers as Frank Sinatra.

More recently Pedicin has been an integral part of the Somers Point Jazz Society and playing a weekly summer gig in the loft bar at Sandi Point (formerly Mac’s).

Pedicin also formed the Brubeck Project (which released a debut CD on Jazz Hut), earned a Ph.D in psychology, and opened a practice that specializes in helping creative people. He is also an Associate Professor of Music and Coordinator of Jazz Studies at the Richard Stockton College.

Taking his new role as an educator out of the school and classroom, and taking jazz out of the nightclubs and bars, Pedicin has started teaching a series of history of jazz lectures at the Ocean City Free Public Library (1735 Simpson Ave., Ocean City. For more information, call 609-399-2434), every Wednesday (from 7pm) through November 9th.

So the release of his new album is just one of a number of things that Pedicin has going on.

In “Searching for Peace” Pedicin releases seven songs, some standard ballads, a couple classics and a few originals. Among the ballads are “You Don’t Know What Love Is,” and a 1962 ballad by John Coltrane. “From the time Train did Ballads, I’ve always wanted to do a ballads album, and I finally did it,” said Pedicin. “There is nothing quite inspiring and satisfying for me as playing a beautiful ballad.”

Playing along with guitarist John Valentino, pianists Dean Schneider & Barry Miles, bassist Andy Lalasis, local drummer Bob Shomo, they also do Wayne Shorter's poignant "Virgo," McCoy Tyner's "Search for Peace" and Hank Mobley's "Home at Last."

Two originals by John Valentino, "Blame It on My Heart" and "Few Moments" and Pedicin’s "Tell Me" round out the recording.

"I will never put my saxophone down until I can't play anymore," Pedicin says.

Pedicin will be picking his horn up for several CD release shows this fall, with a December 3rd date booked at Chris' Jazz Cafe, Philadelphia, and others to be announced.

(Press of Atlantic City photo of Mike Pedicin teaching a jazz history class at Stockton)

“My advice to any young musician, any young person, whatever it is you have a passion for, work hard at it, get good at it and dreams will come alive.” - Mike Pedicin, Jr.

Foster the People's "Pumped Up Kicks" Censored by MTV


Mark Foster's "Pumped Up Kicks" has been getting a lot of radio airplay - primarily on WXPN in Philly, the University of Penn station, and now its on the juke box and getting more widespread attention.

Foster originally called his band Foster & the People but the people got it wrong and called them Foster the People, and that stuck, and the girls seem to have having a hard time figuring out the lyrics so they can sing and whistle along.

So here they are:

Robert’s got a quick hand.
He’ll look around the room, he won’t tell you his plan.
He’s got a rolled cigarette, hanging out his mouth he’s a cowboy kid.
Yeah he found a six shooter gun.
In his dads closet hidden in a box of fun things, and I don’t even know what.
But he’s coming for you, yeah he’s coming for you.

[Chorus]
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”

Daddy works a long day.
He be coming home late, yeah he’s coming home late.
And he’s bringing me a surprise.
‘Cause dinner’s in the kitchen and it’s packed in ice.
I’ve waited for a long time.
Yeah the sleight of hand is now a quick pull trigger,
I reason with my cigarette,
And say your hair’s on fire, you must have lost your wits, yeah.

[Chorus]
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
[whistling]

[Chorus]
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”
“All the other kids with the pumped up kicks
You better run, better run, outrun my gun…”
“All the other kids with the pumped up kicks,
You better run, better run, faster than my bullet.”

While the upbeat rhythm belies the violent theme of the song, MTV removed the words "gun" and "bullet" from the chorus, which sparked a NY Daily News reporter to write:

There was a moment recently on MTVU, MTV's network targeted at college students, when the censorship of a music video totally bamboozled my 11-year-old daughter.

As we were watching MTVU one evening last week, up popped the music video for Foster the People's Billboard-charted hit "Pumped Up Kicks," a neat alternative rock song that happens to be a favorite of my daughter and me. (I'll pause to give some folks time to alert the Parents Television Council that I exposed this impressionable child to programming geared above her age level.)

Yes, there still are places to see music videos. MTVU is one. But it's not the best place to see them, according to my daughter.

Soon this audiovisual experience was wrecked when she noticed some of the lyrics had been wiped clean. The song, which is arguably about some form of retaliation, includes the lines, "You'd better run, better run, outrun my gun" and "You'd better run, better run, faster than my bullet."
However, when the video aired on MTVU, "gun" and "bullet" were digitally blanked out. They weren't bleeped - the audio just went silent, albeit briefly. The video is mostly a concert performance and there is no acting out of lyrics and certainly no guns.

My daughter, quite quickly, was stunned.

"Dad, they cut that out?" she said after the second round of the digitally damaged chorus. "Why did they do that?"

I'm fairly confident she would have dropped a what-the-F-bomb had she been a little older.
Heck, I would, too.

What she had noticed, very quickly, was the quirkiness - silliness, perhaps, of the MTV censorship gods, who decide what to take out and what to leave in.

Reached yesterday, an MTVU spokeswoman said, "Our standards department reviews the content on our air and makes determinations on a case-by-case basis."

In this case, they might have been a little fast on the trigger.

Not complaining, mind you, but Rihanna sings about sex and how chains and whips excite her and that's just fine with the censor gods. Yet Foster the People's gun references get shot down.
In the middle of the day, the main MTV channel airs commercials for Trojan condoms - during a telecast of "16 and Pregnant," of course - and that's okay.

MTV's biggest show is "The Jersey Shore," where - well, you get the picture.

Foster the People's lyrics get dinged while airing on a channel for college students at night. Think about that for a second. Someone there believes the lyrics of that song are not appropriate for the future leaders of the world.

There are countless examples of conflicting messages within the MTV family of networks, no doubt.
When the video aired, though, I tried to be a good parent and make a moment that would leave Oprah proud. I figured I'd turn our shared viewing experience into a teachable moment. Based on past interactions with MTV staffers in the past, I tried to explain why I though MTV may have trimmed the gun reference.

She looked at me and paused.

"That's just stupid," she said.

This time, she was so right.

rhuff@nydailynews.com

Formed in LA in 2009 by Foster(vocals, keyboards, piano, synthesizers, guitar, programming, percussion), Mark Pontius (drums and extra percussion), and Cubbie Fink (bass and backing vocals.
Two live musicians, Sean Cimino (guitar, keyboard, synthesizer, and backing vocals) and Isom Innis (keyboard, piano, and backing vocals), also tour with the band.

When "Pumped Up Kicks" was first recorded, frontman Mark Foster played all of the song's instruments for what he thought was going to be just a demo, but the version he recorded ended up as the final version on Torches.[1]The song is about a troubled and delusional youth with homicidal thoughts. Foster said, "I was trying to get inside the head of an isolated, psychotic kid."[1] He stated in an interview with KROQ-FM that the lyrics were written to "bring awareness" to the issue of gun violence amongst youth, which he feels is an epidemic perpetuated by "lack of family, lack of love, and isolation".

Wednesday, August 31, 2011

Egg Harbor Township After Hour Joints


Egg Harbor Township (EHT) After Hour Joints

For many years Egg Harbor Township allowed those liquor licenses within their jurisdiction to remain open 24-hours a day, and some of them did, especially those near Somers Point, where the bars were forced to stop serving at 2am and close by 3am.

Brownies Lodge, a rustic log cabin in Bargaintown was probably the first to become popular with the post-Somers Point crowd, and many old timers recall driving out there to continue the party after Somers Point had closed.

John McCann, Sr. and Dick McLain, the owners of Bay Shores built the most notorious of the after hour clubs – The Dunes, on Longport Blvd. at the intersection of where the roads from Somers Point and Ocean City came together.

Then there was Jack’s Grove, down past Route 9 on Mays Landing Road, just on the other side of the Patcong Creek. Jack’s was a laid back place under a grove of trees, but was renamed the Attic when a guy named Joe bought it and broke it up into two bars – one upfront with two pool tables, and another larger room in the back where bands played.

Joe sold the place to a group of guys who cleaned up the place and renamed it the Boatyard, and continued the live music tradition.

O’Byrne’s was a local taproom just on the other side of the bay bridge at Lousy Harbor on the Longport Blvd, that became the Mug and the Purple Dragon before Andrew Cornaglia bought it and renamed it Mothers, after the bar in the TV show Peter Gunn.

All of these places were either closed during the day or virtually deserted until around midnight when things would start picking up and they would get more crowded as the Somers Point bars let out. By 3 in the morning they were jamming, most of the them with live bands that didn’t even begin to play until midnight and continued to early in the morning. Dunes ‘Til Dawn was the slogan on the T-shirts.

The bands that played these places were special too. The Dunes had the best bands early on mainly because of their affiliation with Bay Shores, so many of the bands from there would go over to the Dunes when they got finished at Bay Shores and continue playing or jam with the band that had the gig.

Airport was the house band at Mothers for a few years, while Bob Campanell and the Shakes also played there a lot. Bob’s brother Gabbo had a band The Flys, whose equipment was destroyed when Mothers burnt down a year or so after Andrew sold the place to Charlie Brown.

Mike’s Towing was the band at the Attic for many years, and Mike and his pals would move to the Pocono mountain resorts for the winter after the summer ended at the Shore.


A lot of bands played Brownies over the years, including Jack Zwacki, Larry Hickman and Back Roads, which included Nancy and Tom, Jack Patch and Billy Mueller.

Today, none of these places even exist. Brownies is still there but after Joe Hoffman died his second wife sold it to some guys who operated it as a bust out joint for a year or two and then went bankrupt, and it now sits empty.

After Mothers burnt down its liquor licenses was sold and moved to the Cardiff Circle.

The Dunes was renovated into a sports bar by the Suttor family from Margate, who also owned, at one time – the Sailfish Café and Roberts in Margate, the Point Pub and the Owl Tree in Northfield.

Then they lost it and the Dunes was taken over by the State of New Jersey Division of Fish Game and Wildlife – and went from one wildlife to another.

Tuesday, August 30, 2011

WHERE THE BANDS ARE Sept. 2 – 8



Sax man Terry Hanck plays at the Somers Point Beach on Friday night and Formica's in Northfield on Saturday


FRIDAY Sep. 2 –


The Terry Hanck Band: World Class Honky Tonkin’ Roots Rock Saxophonist/Lead Singer Somers Point Beach.

Terry Hanck has long been regarded as one of the premiere sax players and performers in roots rock and blues. He has starred for many years with the world renowned Elvin Bishop Band and his new CD, “Lookout” has recently been near the top of the BB King Bluesville Charts on XM Radio.

Yavonne & Jack at Sandi Point Somers Point

The Mighty Parrots 7 Back Bay Café Tuckahoe Inn Beesley Point

Lew London & Chris Sooy – Steve & Cookies Margate

Tony Pontari Steve & Cookies Margate

Carl Behrens 4:30 Brian & Deb Rusty Nail Cape May

Wesley Ochs 8 Brown Room Congress Hall Cape May

Dane Anthony Band 9 Boiler Room Congress Hall Cape May

52 Pick Up Cabanas Beach Bar Cape May

Michael James 6 Harpoon Henrys North Cape May

The Loop Springfield Inn Sea Isle City

Jim Maher & Son 8:30 Deauville Inn Strathmere.

Mr. Greengenes Ocean Drive Sea Isle City

SATURDAY Sept. 3

Terry Hanck and his great band will perform a free concert at Formica Brothers Bakery Café, 200 Tilton Road in Northfield on Saturday night. This special added free concert event will feature 2 shows by Terry Hanck and his great band from 7 to 10 PM at the Café where you can always enjoy Formica’s legendary bread, pastries, rolls and those famous canoli as well as sandwiches, salads and soups. This special concert is provided as an expression of gratitude by the Marotta family and the Formica family who collaborated so successfully on the Mardi Gras on the Boardwalk free concert series,

Love and Branca 6 Back Bay Café Tuckahoe Inn Beesleys Point

Steel Drums 1pm Baia on Bay Ave. Somers Point

Lew London & Bob Mower 8 Sandi Point Somers Point

Gregg Carpenter 4:30 Guy Petersen 9 Rusty Nail Cape May

Darin MacDonald Brown Room Congress Hall Cape May
Frank Bey 9 Boiler Room Congress Hall Cape May

Crystal Roxx Carneys Cape May

Grape Street Riot – Cabanas Beach Bar Cape May

Beachcomber 6 Harpoon Henrys North Cape May

Juliano Bros. 4 Goodman Fiske Springfield Inn Sea Isle City

Go Go Gadjet & Kirko 4 Burnt Siena Ocean Drive Sea Isle City

SUNDAY Sept. 4

Honey Island Swamp Band one of New Orleans hottest rock ‘n roll jam funk extravaganza bands 6:30 New England’s rockin’ blues big band world renown Roomful of Blues 8:15, Kennedy Plaza

Steel Drums 1pm Verdict Caribbean 7 Baia Bay Ave. Somers Point
Bob Campanell Back Bay Café 6 Tuckahoe Inn Beesleys Point

Joe Mancini & Paula Johns along with The Potts Steve & Cookies Margate

Reggae Sundays 12:30 Audrey Snow 9 Rusty Nail Cape May

Erik Simonsen 8 Brown Room Congress Hall Cape May

Animal House Carneys Cape May

Star 69 Cabanas Beach Bar Cape May

Blondage 1 Beachcomber Bill 6 Harpoon Henrys North Cape May

Juliano Bros 4 Please Please Me Springfield Inn Sea Isle City
Secret Service 4 Ocean Drive Sea Isle City

MONDAY Sept. 5 Labor Day

Acoustic Fish 5 Tuckahoe Inn Beesleys Point

Madelinje Sandman and Bill McGrady Steve & Cookies Margate

Greg Carpenter 4:30 Rusty Nail Cape May

Secret Service Jam 4 Go Go Gadjet Ocean Drive Sea Isle City

TUESDAY Sept. 6

Anne Oswald 5 Tuckahoe Inn Beesleys Point

Lew London & Chris Sooy Steve & Cookies Margate

Celtis McBride Irish Music 9 O’Donnells Pour House Sea Isle City

WEDNESDAY Sept. 7

Bob Campanell 5 Tuckahoe Inn Beesleys Point

Joe & Friends and Phil Stocker at Steve & Cookies Margate

Bubba Mac Band 6 Beach House Deauville Inn Strathmere

THURSDAY Sept. 8

Hawkins Road w/Danny Eyer Back Bay Café Tuckahoe Inn Beesleys Point

Joe & Friends Steve & Cookies Margate

Marnie & Nate 4:30 Rusty Nail Cape May

Darin MacDonald 8 Brown Room Congress Hall Cape May

Gary & the Kid 7 Beach House Deauville Inn

Blind Drunk Ocean Drive Sea Isle City

Tuesday, August 23, 2011

Where the Bands are this Week August 26 - 1



The Reba Russell Band: Tennessee Country Blues Diva from Beale Street in Memphis.

Beale Street at the Beach - The Somers Point Beach

WHERE THE BANDS ARE August 26 - September 1

FRIDAY Aug. 26

- The Reba Russell Band Somers Point Beach.

- Danny Eyer duo 3 Steve LaManna 8 Seaglass Golden Inn Avalon

- Paul Sottile – Ebbett Room Virginia Hotel Cape May

- Delany & Reeves Brown Room Congress Hall Cape May

- Billy D. Light Boiler Room Congress Hall Cape May

- The Mighty Parrots Back Bay Café Tuckaoe Inn Beesleys Point

- George Mesterhazy at the Merion Inn Piano Cape May

- Carl Behrens 4:30 Guy Peterson 9 Rusty Nail Cape May

- Cheers Carneys Cape May

- Scream 10 Cabanas Cape May

- Michael James 6 Harpoon Henrys North Cape May

- Lew London & Chris Sooy Steve & Cookies Margate

- Tony Pontari acoustic guitar Oyster Bar Steve & Cookies Margate

- Kix House of Blues Showboat Atlantic City

- Frankie Valli & Four Seasons Borgata Music Box AC

SATURDAY – Aug. 27

-Gregg Carpenter 4:30 Twelve:02 9 Rusty Nail Cape May

- Big House Carneys Cape May

- Dead Poets Cabanas Cape May

- Dane Anthony Band Boiler Room Cape May

- Beachcomber Harpoon Henrys North Cape May

- Not Worth Stealing 12 Mike Thompson Band 3:30 Steve LaManna 8 Seaglass Golden Inn Avalon

- Secret Service 4 Dave Gustafson Scene Changer 8 Denis Holmes 10 Windrift Avalon

- Juliano Brothers 4 Springfield Inn Sea Isle City – Windrift 8:30 Avalon

- She’s Trouble Springfield Inn 4

- Jerry Blavat Memories Margate

SUNDAY Aug. 28

- REGGAE Sunday 12:30 Rusty Nail Cape May

- Bob Campanell Band 6 Back Bay Café Tuckahoe Inn Beesleys Point

- Animal House Carneys Cape May

- Dennis Donnell acoustic blues Mad Batter Cape May

- Open Mic Nite Boiler Room Congress Hall 8

- Juliano Bros 4, She’s Trouble 4 LeCompt 9 Springfield Inn

- Verdict Caribbean dance Baia Deck Somers Point

- Darin MacDonald 6 Windrift Avalon

- Joe Mancini & Paula Johns / The Potts Steve & Cookies Margate

- Lynyrd Skynyrd Borgata Events Center AC

- Frankie Vallie & Four Seasons Borgata Music Box AC

MONDAY Aug. 29

-Guy Peterson 4:30 Rusty Nail Cape May

- Greg Carpenter 8 Brown Room Congress Hall

- Ann Oswald 6 Harpoon Henrys North Cape May

- LeCompt 4 Springfield Inn Sea Isle City

- Saxman Mike Pedicin, Jr. jams jazz in the loft at Sandi Point Somers Point

- Madeline Sandman & Bill McGrady Steve & Cookies Margate

- The Curtis Salgado Band. Kennedy Plaza. AC

- Billy Walton w/Southside Johnny Martells Tiki Bar Pt. Pleasant

TUESDAY – Aug. 30

- Joe Kozak 4:30 Rusty Nail Cape May

- Don Shaw Brown Room Congress Hall

- Sal Anthony 6 Harpoon Henrys North Cape May

- Lew London & Chris Sooy Steve & Cookies Margate

- Billy Walton w/Southside Johnny Martells Tiki Bar Pt. Pleasant

WEDNESDAY – Aug. 31

-Wesley Ochs 4:30 Rusty Nail Cape May

- Jazz at the Batter – Mad Batter Cape May 6:30

-Matt Santry Brown Room Congress Hall

- Sal Anthonly 6 Harpoon Henrys North Cape May

- Bubba Mac Blues Band at the Deauville Inn Beach House Strathmere 6

- Joe & Friends Steve & Cookies Margate

- Everybody Loves Italian. Italian heritage is celebrated just down the street from Ducktown, Atlantic City

- Secret Service Ocean Drive Sea Isle City

- Phil Stocker Steve & Cookies Margate

- Jerry Blavat Lighthouse Point Wildwood

THURSDAY – Sept. 1

- Marine & Nate 4:30 Rusty Nail Cape May

- Danny Eyer sits in with Hawkins Road at the Back Bay Café 6 Tuckahoe Inn Beesleys Point

- Lefty Lucy Atlantic City Country Club patio Northfield 6pm

- Paul Sottile Ebbitt Room Virginia Hotel Cape May

- Darin MacDonald Brown Room Congress Hall

- Animal House Carneys Cape May

- Goodman Fiske Springfield Inn Sea Isle City

- Joe & Friends Steve & Cookies Margate

- Matisyahu Borgata Events Center Atlantic City