[Dixielandjazz] Black Eagles video 1975
Eli Newberger
newberge at massmed.org
Mon Dec 29 23:08:52 PST 2003
Hi, all. For anyone curious to hear the New Black Eagle Jazz Band in its
heyday, here's a video of Ellington's "The Mooche."
http://www.elinewberger.com/media/jazz_band_small.mov
With warm New Year's greetings,
Eli
----- Original Message -----
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To: <dixielandjazz at ml.islandnet.com>
Sent: Monday, December 29, 2003 9:15 PM
Subject: Dixielandjazz Digest, Vol 12, Issue 63
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> Today's Topics:
>
> 1. Re: The Melody Maker
> 2. Re: For our Central & South American List Mates (Don Ingle)
> 3. Re: Dixielandjazz Digest, Vol 12, Issue 61 (anichols)
> 4. Re: Dixielandjazz Digest, Vol 12, Issue 62 (Stephen Barbone)
> 5. Dinah (Stephen Barbone)
> 6. Re: Battles of the Bands (Robert S. Ringwald)
> 7. RE: Battles of the Bands (Edgerton, Paul A)
> 8. Battle of the Bands
> 9. Re: Re: Santa Baby (David Richoux)
> 10. For all Festival Promoters & Jazz Societies
> 11. Re: Battle of the Bands
> 12. RE: La Banda (to Prof. Gunter) (Alberto Martino)
> 13. RE: RE: La Banda (to Prof. Gunter) (Bill Gunter)
> 14. Big Bands (Stephen Barbone)
>
>
> ----------------------------------------------------------------------
>
> Date: Mon, 29 Dec 2003 15:00:30 EST
> From: TCASHWIGG at aol.com
> To: dixielandjazz at ml.islandnet.com
> Subject: Re: [Dixielandjazz] The Melody Maker
> Message-ID: <1cb.16e4a852.2d21e1de at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
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> Message: 1
>
> In a message dated 12/29/03 3:32:56 AM Pacific Standard Time,
TBW504 at aol.com
> writes:
>
> > . Although the MM was principally
> > aimed at dance band musicians and their followers it did provide the
only
> > regular service for jazz enthusiasts with gig listings and record
reviews
> > however
> > flawed. When the ME was relaunched as the NME , aimed at the growing
youth
> > market with purchasing power and a taste for rock and roll, the decline
of
> > the MM
> > became one of the longest death rattles in history.
> >
>
> Hummm! Very Interesting,
>
> Gives further credence to the heretofore discussions on this list about
the
> demise of Jazz music in general.
>
> MM was for DANCE BAND MUSICIANS AND THEIR FOLLOWERS,
>
> Since many Jazz Musicians went the other way and insisted upon being
concert
> style only players and insisted that their audiences be less fun loving
and
> rowdy free spending youth.
>
> It is no wonder the youth abandoned Jazz for Rock & Roll which was DANCE
> music and most of it remains so today.
>
> Now if we all just went out and gave the kids today some really good hot
> dance music we might be surprised at the acceptance. But no that would
not be hip
> and or Jazz, as many folks like to describe it.
>
> Cheers,
>
> Tom (Dance your Ass off) Wiggins
> ------------------------------
>
> Date: Mon, 29 Dec 2003 15:23:42 -0500
> From: "Don Ingle" <dingle at baldwin-net.com>
> To: "Bill Gunter" <jazzboard at hotmail.com>,
> <barbonestreet at earthlink.net>,
> <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] For our Central & South American List Mates
> Message-ID: <003201c3ce49$ad51a790$8b9eb0c7 at D300TG31>
> References: <LAW9-F56khorZ2UjIdH0001c2e0 at hotmail.com>
> Content-Type: text/plain;
> charset="iso-8859-1"
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> Message: 2
>
> Si -- El bando gigante e El Bando Grosso.
> Of course some bands will gross you out more than others.
> Donde es esta el Saco por mi cabeza? La Cantina es muy pellagra, no es
> verdad?
> Sorry -- don't know how to make those upside down question marks at the
> beginning of question sentences.
> My umlauts suck, too!
> Donaldo El Ingle(s)
> ----- Original Message -----
> From: "Bill Gunter" <jazzboard at hotmail.com>
> To: <barbonestreet at earthlink.net>; <dixielandjazz at ml.islandnet.com>
> Sent: Monday, December 29, 2003 12:26 PM
> Subject: RE: [Dixielandjazz] For our Central & South American List Mates
>
>
> > Hi Steve,
> >
> > >PS. If you got that far, don't you just love the name: "El Banda
> Gigante"?
> >
> > Yes I do. I'd probably like it better if it was "La Banda Gigante."
> >
> > Cheers,
> >
> > Bill "Pero mi banda is muy pequeño" Gunter
> > jazzboard at hotmail.com
> >
> > _________________________________________________________________
> > Tired of slow downloads? Compare online deals from your local high-speed
> > providers now. https://broadband.msn.com
> >
> >
> > _______________________________________________
> > Dixielandjazz mailing list
> > Dixielandjazz at ml.islandnet.com
> > http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> >
>
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 15:26:50 -0500
> From: anichols at gis.net (anichols)
> To: dixielandjazz at ml.islandnet.com
> Cc: lswain at penrose.com
> Subject: [Dixielandjazz] Re: Dixielandjazz Digest, Vol 12, Issue 61
> Message-ID: <v01550103bc163bfdc7a4@[67.75.43.55]>
> Content-Type: text/plain; charset="iso-8859-1"
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> Message: 3
>
> Linda,
> I remember the phrase Cutting Contests as used instead of Battle of the
> Bands, which seems, nowadays, to refer to a contest between Rock music
> bands. Anyway, when Googleized, Cutting Contests came up with the
following
> first 3 references. One by our/DJML's own Steve Barbone:
>
> http://members.aol.com/midimusic/cutcont.html
>
> Imagine Fats Waller, Willie "The Lion" Smith and James P. Johnson in the
> same room, each taking his turn at the piano and each trying to outplay
the
> other. Thatwould be the mother of all cutting contests!
> Cutting contests originated in New York City's Harlem neighborhood as
"rent
> parties." If you felt you couldn't make the next month's rent, you would
> invite to your apartment as many friends and neighbors as you could (for a
> fee, of course) and hire the best pianists you could find to entertain
into
> the wee hours of the night. The pianists would get their monetary due, the
> landlord would get his rent and you would hear to the best music possible
=
> =D0
> in fact, the very best =D0 because each pianist would try to "cut" the
prior
> pianist by outplaying him.
> Sadly, since cutting contests occurred before the invention of the tape
> recorder, there are no recordings of them available. How unfortunate.
> However, through the magic of MIDI, I have recreated a cutting contest
> among the likes of Fats, The Lion, James P. and Jelly Roll Morton
(although
> there is no evidence that Jelly Roll participated in them - indeed, he
> deliberately avoided them).
> So, sit back, access my virtual Cutting Contest and you be the judge of
the
> winner. =20
>
> Let's get ready to
> rumbl-l-l-l-l-le!!
> We've got the best of the best being put to the test . . . the mother of
> all cutting contests.
> The cutting contest to end all cutting contests.
> =46ats Waller!
> James. P. Johnson!
> Dick Wellstood!
> Jelly Roll Morton!
> Art Tatum!
>
> All here to duke it out at the ivories!!!
>
> Also:
> http://ml.islandnet.com/pipermail/dixielandjazz/2003-January/006145.html
>
> David Palmquist and Phil O'Rourke wrote about "cutting contests".
>
> Yes, they were quite prevalent from the beginning of jazz till the
> present. Some of the more talked about included:
>
> Goldkette Band vs. Fletcher Henderson Band at Roseland NYC in the 1920s.
> (2 occurrences).
> Chick Webb Band Vs. Benny Goodman Band in the 1930s in NYC.
> Lester Young vs. Coleman Hawkins in Kansas City in the 1930s.
> Countless sessions at Minton's and Monroe's in Harlem in the 1940s.
> Countless sessions among OKOM players and bands in clubs and lofts in
> NYC from the 1940s till the 1960s. (at least)
>
> They were an integral part of "paying one's dues" as a jazz musician in
> New York City when I was there in the 1950s and 1960s. Whether you won
> or lost was not the point. What you learned, and how much better you
> played at the next one was important. I think I posted before what my
> wife said, when we were courting, about Kenny Davern and me at one such
> session.
>
> She said: "He plays better than you." I knew that, but to have her know
> that was special to me and we got married a few months later in 1962. We
> are still married, Kenny still plays better and we 3 joke about it every
> time we are together.
>
> The best and most competitive cutting session player I ever knew or
> heard was Roy Eldridge. Everybody always wanted him to go last because
> no matter who was there, Gillespie, Shavers, Navarro, Bill Davidson, et
> al., Eldridge would get going and blow all other trumpeters away. He had
> some fire in his belly that would ignite the audience at any cutting
> session as he played well beyond his normal self. After he played, no
> one wanted to follow and that was the ultimate accolade.
>
> Cheers,
> Steve Barbone
>
> Also:
>
> http://www.filmscouts.com/scripts/interview.cfm?File=3Drob-alt
>
>
> Robert Altman on "Kansas City"
>
> by Henri B=E9har
>
>
> Buy this video from Reel.com
>
> Music from Amazon.com:
> Buy The Soundtrack.
> ------------------------------------------------------------------------
> Cannes, May 12, 1996
>
> Shown in competition Monday, May 12, and starring Harry Belafonte, Miranda
> Richardson and Jennifer Jason Leigh, Robert Altman's "Kansas City" weaves
> several stories, and several moods, against the backdrop of a lively,
> lawless city in the 1930s, which was as well known for its jazz as it was
> for its party girls and its gangsters. The energy of the music
reverberates
> through the entire film. For FilmScouts, Kansas City-born director Altman
> takes off below on a riff about the music, the politics, "cutting
> contests", fleshing out a film script as if it were a score and the actors
> instruments, along with some personal memories. - HB
>
> ------------------------------------------------
>
> Kansas City became the hub of the music world at that time because it was
> the port for the center of the continent, the crossroad of commerce for
> one-sixth of America. All the airlines went through there, all the trains.
> You went from East to West, you went through Kansas City. It was the base
> for all musicians who traveled in what was called "The Territories", the
> Western territories. The bands would make up in Kansas City, travel
through
> Oklahoma, Texas, Arizona, California, and back to Kansas City through
> Nevada, Colorado. They played one-night stands. They'd go in a bus,
> usually. Many times, the bands would go broke, the guys ended up back in
> Kansas City and new bands were formed.
>
> Between 1926 and 1936, Kansas City was run by Tom Pendergast, who had in
> his pocket both the political machine and the racketeers, led by Johnny
> Lazia. Pendergast never listened to music and was always in bed by 9:00
> P.M. He made sure, however, that the town never did. It was a wide-open
> lawless town of dance-halls, nightclubs, honkey-tonks, clubs and brothels
> -- K.C. had the largest red light district in the country. The bars were
> always open, so musicians were always employed.
> On their night off, which was Monday, everybody would come together from
> those different clubs and a jam session would occur that would go on for
> days! The day WE're talking about in the film was the Monday before an
> election. Of course, on Election Day, they wouldn't work.
>
> The "cutting contest" between Coleman Hawkins and Lester Young that we
> describe in the film actually happened. Charlie Parker was there, too. But
> he played so badly that Joe Jones, who was the drummer, threw a cymbal at
> him. And Parker was kind of laughed off the stage.
>
> "Cutting contests" happened all around, but Kansas City was particularly
> known for the energy of its jam sessions. The principle is simple, it
> originated in tap dancing. One guy would get up and do so many steps, the
> other guy had to do something different, and they just kept going till one
> guy ran out of ideas. And they did that in music as well...
>
> There was a time, possibly, when a high-level aficionado could tell the
> difference between K.C. jazz and Chicago jazz. I wouldn't know how to
> describe the Kansas City sound. They weren't taking solos the same way as
> anywhere else. As the big bands began to grow -- Bennie and Buster Moten,
> Bill Basie, who wasn't yet nicknamed "Count" -- they came up with a
certain
> kind of drumming... and swing was born. A particular brand of swing.
>
> The jazz scenes didn't exist as such in the script. We put the bands
> together, made a 50-minute film with just the music. It's not a
> documentary, it's a performance. Like an album. Only, it's a visual album.
> And we integrated it in our narrative. There is nothing but live jazz,
> here. Sometimes you see the musicians, sometimes you don't. But that was
> always the intention, not one "incidental" note has been added.
>
> =46rom writing to editing, the film, to me, is constructed like jazz. Here
> you have Miranda Richardson and Jennifer Jason Leigh doing a riff, then
> Harry Belafonte cuts in with his own riff... They're doing improvisations
> off of the same theme. If you just stuck to the story --which would be the
> song, "Solitude" -- it could be done in three minutes: "Girl kidnaps a
> woman, hoping, with the ransom to pay off the debt her boyfriend has
> vis-a-vis a local gangster who owns the jazz club where Coleman Hawkins
and
> Lester Young are engaged in a 'cutting contest' the Monday before Election
> Day." But put a jazz spin to "Solitude", and it could go for twenty
> minutes. Or two hours, depending on your performers.
>
> I would say Belafonte was a brass. A trumpet, perhaps. And the two girls,
> Miranda and Jennifer, are kind of like two tenor saxophones. On the
> shooting, therefore, I acted less as a "director" than as an orchestrator,
> the arranger of the band. I'd write the charts and say, "Okay, you are
> going to play so many bars of this, and then the trumpet is going to do so
> many bars of this, and you're coming back in, and we're going to end with
> just a soft cello bass/fiddle duet." Which is another rendition of
> "Solitude".
>
> I grew up in Kansas City. The housekeeper that kind of raised me was a
> black woman named Glendora Majors. She kept the radio on all the time. One
> day, I was about eight, it was the middle of the afternoon, and the two of
> us were in the house alone -- she said, "Bobby, come over here and listen
> to this." She sat me in front of the radio. "That's Duke Ellington's
> 'Solitude'. It's the best music there is. Now you sit and listen to it."
> And I remember I remained glued to my chair. "Solitude" is the first piece
> of music that I really remember. And it's the last piece of music in the
> film...
>
> Original message:
> >Date: Wed, 24 Dec 2003 12:09:58 -0600
> >From: "Linda Marty Schmitz" <marsch at chorus.net>
> >To: <dixielandjazz at ml.islandnet.com>
> >Subject: [Dixielandjazz] Battles of the Bands
> >Message-ID: <001c01c3ca49$24d0e880$fdf80b45 at oemcomputer>
> >Content-Type: text/plain;
> > charset=3D"iso-8859-1"
> >MIME-Version: 1.0
> >Content-Transfer-Encoding: quoted-printable
> >Precedence: list
> >Message: 1
> >
> >Hey list mates:
> >
> >This is a first time missive from me. I am president of the Madison =3D
> >Jazz Society in Madison, WI. We are celebrating our 20th anniversary in
=
> =3D
> >2004.
> >
> >One of our concerts will be a "battle of the bands" between two local =3D
> >18-piece big bands. I want to write a news article about the old =3D
> >battles of the bands but I'm much too young to have been at one (born in
=
> =3D
> >1945). Can any of you help me? =3D20
> >
> >Were you ever at one? How were they set up? Who did you hear? Did =3D
> >they really determine a "winner?" Whatever you can give me that will be
=
> =3D
> >of interest to our readers in Wisconsin would be greatly appreciated.
> >
> >Linda Marty Schmitz
>
> Norm Nichols
> anichols at gis.net
>
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 15:58:18 -0500
> From: Stephen Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Subject: [Dixielandjazz] Re: Dixielandjazz Digest, Vol 12, Issue 62
> Message-ID: <3FF09569.2886C6FA at earthlink.net>
> References: <E1Ab3Yd-0007Sk-01 at ml.islandnet.com>
> Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854";
> x-mac-creator="4D4F5353"
> MIME-Version: 1.0
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> Precedence: list
> Reply-To: barbonestreet at earthlink.net
> Message: 4
>
> > "David W. Littlefield" <dwlit at cpcug.org>
> >
> > I would like to have a lead sheet for "Santa baby". I haven't found it
in
> > Anderson or any of the commercial fakebooks.
> >
> > I've come to like it better the more I've seen the Pier 1 commercial,
but
> > today I heard a really neat virgin on the supermarket PA: Female
vocalist
> > doing it in a sort of Betty Boop/Helen Kane style. Gotta have the
record!
> > I'll probably put it into the "add-on" section of "Gig Book"...
> >
> > Can anyone identify the record/artist/CD?
>
> Hi Sheik:
>
> I don't have the lead sheet, but THE DEFINITIVE RECORD was made by Eartha
Kitt
> circa 1954. It was specifically written for her back then and NOBODY but
NOBODY
> sings it as well as she does.
>
> Google "Santa Baby - Kitt" and I believe you will find some downloadable
music
> for it, as well as the lyrics as she sang them.
>
> Cheers,
> Steve Barbone
>
> PS. I was just 21 when I first heard it and will never forget how sexy it
is/was
> when she sang it. Then saw her sing it and was transfixed again.
>
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 16:14:07 -0500
> From: Stephen Barbone <barbonestreet at earthlink.net>
> To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Dinah
> Message-ID: <3FF0991F.9EF75CFA at earthlink.net>
> Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854";
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> Reply-To: barbonestreet at earthlink.net
> Message: 5
>
> A few days ago someone asked for the chords to the verse of Dinah. Hope
> I am not repeating it, but I did not see them given so here is the Verse
> in Ab concert.
>
> / Ab / Ab / Eb7 / Eb7 /
>
> / Ab-F7 / Bb7 / Bb7/ Eb7/
>
> / Ab / Ab / Cm / Cdim /
>
> / Eb - Cm / Fm / Bb7 / Eb7 /
>
> Cheers,
> Steve Barbone
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 13:31:44 -0800
> From: "Robert S. Ringwald" <ringwald at calweb.com>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Battles of the Bands
> Message-ID: <03ac01c3ce53$29681400$3600a8c0 at bobringwald>
> References: <001c01c3ca49$24d0e880$fdf80b45 at oemcomputer>
> Content-Type: text/plain;
> charset="iso-8859-1"
> MIME-Version: 1.0
> Content-Transfer-Encoding: 7bit
> Precedence: list
> Message: 6
>
> Linda Marty Schmitz wrote:
>
> > I am president of the Madison Jazz Society in Madison, WI. We are
> celebrating our 20th anniversary in 2004.
> >
> > One of our concerts will be a "battle of the bands" between two local
> 18-piece big bands. I want to write a news article about the old battles
of
> the bands but I'm much too young to have been at one (born in 1945). Can
> any of you help me?
> >
> > Were you ever at one? How were they set up? Who did you hear? Did
they
> really determine a "winner?" Whatever you can give me that will be of
> interest to our readers in Wisconsin would be greatly appreciated.
> >
>
>
> Linda,
>
> I have not read all of the posts that resulted from your question. Thus,
I
> don't know if it was ever answered.
>
> I remember the Ken Burns Jazz series talking about "Battle of the Bands"
on
> several occasions.
>
> I believe that one way to do it would be to put the 2 bands at opposing
ends
> of the room, hopefully on a stage or risers. They would take turns
playing
> songs. As soon a s one band ends their song, the other band would start
up.
>
> Another way would be to put them side by side on the same stage, if the
> stage was large enough. This is always fun when for a finale, the bands
> have gotten together & rehearsed a couple of arrangements that they could
do
> together. This of course, makes for a *really big band sound.
>
> I don't think it is necessary for anyone to vote on who was the best as it
> is all in fun.
>
> The Uptown Lowdown band, along with another band have rehearsed some
> Fletcher Henderson arrangements (I believe they were) & performed them in
a
> combined band which were absolutely great! I saw them, I believe it was
in
> Sacramento but it might have been at another festival.
>
> It could have been possible, in the early days (without sound systems) in
a
> very large ballroom where 2 bands would be playing at the same time at
> either ends of the room & not interfering with each other. But, I am not
> sure. Perhaps someone on DJML has more info.
>
> Good luck.
>
> Bob
> mr.wonderful at ringwald.com
> Placerville, CA USA
>
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 15:47:07 -0600
> From: "Edgerton, Paul A" <paul.edgerton at eds.com>
> To: DJML <dixielandjazz at ml.islandnet.com>
> Subject: RE: [Dixielandjazz] Battles of the Bands
> Message-ID:
<E2455C8B4A4AD21187C700805F31BC231C7B030D at ussam202.exwe01.exch.eds.com>
> Content-Type: text/plain
> MIME-Version: 1.0
> Precedence: list
> Message: 7
>
> Bob Ringwald wrote:
> "Another way would be to put them side by side on the same stage, if the
> stage was large enough. This is always fun when for a finale, the bands
> have gotten together & rehearsed a couple of arrangements that they could
do
> together. This of course, makes for a *really big band sound."
>
> Something like this happened a few years ago when the Wooden Nickel Jass
> Band and Fireworks! shared the bill on a JazzDagen cruise. The combined
band
> was called "Firewood," and certainly kindled a blazing performance. Alas,
> both bands are now reduced to ashes.
>
> Paul Edgerton
> Who hasn't seen a Phoenix yet.
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 18:53:00 EST
> From: TBW504 at aol.com
> To: dixielandjazz at ml.islandnet.com
> Subject: [Dixielandjazz] Battle of the Bands
> Message-ID: <1db.178c21ce.2d22185c at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
> MIME-Version: 1.0
> Content-Transfer-Encoding: 7bit
> Precedence: list
> Message: 8
>
> Every year there is a battle of the bands during the French Quarter
Festival
> which is supposedly decided on public acclamation. After many years
experience
> I have learnt to avoid it at all costs. The amplification is
ear-shattering;
> bands mostly play rabble-rousing material; the "winner" is chosen before
the
> contest starts as far as I can observe. Be warned!
> Brian Wood
> ------------------------------
>
> Date: Mon, 29 Dec 2003 16:03:28 -0800
> From: David Richoux <tubaman at batnet.com>
> To: dixie <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Re: Santa Baby
> Message-ID: <988BE86C-3A5B-11D8-A2F3-000A956ED8E0 at batnet.com>
> In-Reply-To: <3FF09569.2886C6FA at earthlink.net>
> References: <E1Ab3Yd-0007Sk-01 at ml.islandnet.com>
> <3FF09569.2886C6FA at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
> MIME-Version: 1.0 (Apple Message framework v606)
> Content-Transfer-Encoding: 7bit
> Precedence: list
> Message: 9
>
> Another interesting Santa song is Ella singing "Santa Claus Got Stuck
> in My Chimney" from the early 1950 (it is on the Stash Christmas
> collection)
> I played it on my 12/25 show this year and several people thought it
> was a bit more than innocent...
>
> Dave Richoux
> On Dec 29, 2003, at 12:58 PM, Stephen Barbone wrote:
>
> > Hi Sheik:
> >
> > I don't have the lead sheet, but THE DEFINITIVE RECORD was made by
> > Eartha Kitt
> > circa 1954. It was specifically written for her back then and NOBODY
> > but NOBODY
> > sings it as well as she does.
> >
> > Google "Santa Baby - Kitt" and I believe you will find some
> > downloadable music
> > for it, as well as the lyrics as she sang them.
> >
> > Cheers,
> > Steve Barbone
> >
> > PS. I was just 21 when I first heard it and will never forget how sexy
> > it is/was
> > when she sang it. Then saw her sing it and was transfixed again.
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 19:15:03 EST
> From: TCASHWIGG at aol.com
> To: dixielandjazz at ml.islandnet.com
> Subject: [Dixielandjazz] For all Festival Promoters & Jazz Societies
> Message-ID: <8a.5e80d5.2d221d87 at aol.com>
> Content-Type: text/plain; charset="UTF-8"
> MIME-Version: 1.0
> Content-Transfer-Encoding: quoted-printable
> Precedence: list
> Message: 10
>
> =20
> The following press release should be of great value to any and all of
you=20
> who are savvy enough to go check it out. I suggest you send the
brightest=
> =20
> youngest person in your organization to the conference to learn the ins
and=20=
> outs=20
> of obtaining sponsorships, and give them the training to go find and get
the=
> m.=20
> It could be the single most important function of your organization's=20
> future survival.
>
> This press release to my old trained eyes indicates that the industry
is=20
> actually looking for events like OKOM festivals again, rather than
throwing=20=
> all=20
> those millions of dollars at naming some stupid stadium after themselves.
I=
> t=20
> appears that they may be going back to the roots of sponsorship and what I
h=
> ave=20
> been preaching to you folks for a couple of years now, It is a numbers
game,=
> =20
> interestingly enough, HOME DEPOT is spending big sponsorship bucks. Now
how=
> =20
> many of you spend your money at Home Depot every weekend? Some of you may
e=
> ven=20
> wear Nike shoes, rent video's at Blockbuster, shop at ACE hardware, buy a
ne=
> w=20
> car every four or five years.
>
> Teach one of your kids how to go get the money, by selling these folks on
al=
> l=20
> the wonderful aspects of your event, and do not forget to mention the
number=
> =20
> of people who attend the event, and how their sponsorship can and will
provi=
> de=20
> much needed media coverage to EZPAND the consumer audience and give
them=20
> greater name recognition in the marketplace. Get them to donate some
gift=20
> certificates that you can auction off for fundraising, etc., products,
whate=
> ver they=20
> are willing to donate or contribute to your cause.
>
> Home Depot could easily donate the materials to build and store your
stages,=
> =20
> festival signs, These kind of sponsorships greatly reduce your annual=20
> operating budget and can and will help you stay in business a lot longer
and=
> present=20
> better events as well.
>
> Electro Voice could easily donate several PA systems, if they say no go
to=20
> PEAVEY, and so on and so on, somebody wants your business and will see a
goo=
> d=20
> opportunity to sponsor you if you present it properly.
>
> Cheers,
>
> Tom Wiggins
>
>
> Marketers To Forget Sponsorship In 2004
>
> Although Industry Analyst IEG Projects 8.7 Percent Rise in Spending,=20
> Sponsorship Faces Watershed Year
>
> For Immediate Release:
> December 29, 2003
>
> For More Information Contact:
> Jim Andrews, IEG, Inc., Tel: 312/944-1727
> Click here to download full press release.=20
>
> Chicago, Ill. North American companies will spend more on sponsorship in
200=
> 4=20
> than ever before, but the types of properties they will spend that money
on=20
> and how they will use them will change fundamentally.
>
> "The new year marks a threshold for sponsorship," said IEG founder and=20
> president Lesa Ukman. "The industry will grow at a healthy pace, but the
sou=
> rce of=20
> that growth will be much different than in the past."
>
> For many years, blockbuster new deals with high-priced properties, be
they=20
> venue naming rights or major pro sports deals, have fueled sponsorship's
gro=
> wth.=20
> That is no longer the case. The industry will not continue to see the=20
> constant creation of big-ticket opportunities.
>
> Instead, expansion will come as the result of partnerships with a wider
arra=
> y=20
> of nontraditional partners, including deals with traditional broadcast=20
> properties that include a sponsorship element. In the age of TiVo,
advertise=
> rs and=20
> TV programmers are developing alternatives to the 30-second spot that are
le=
> ss=20
> about buying media and more about interaction and experiential marketing.
>
> In addition to a change in the types of partnerships, the nature of=20
> sponsorships and their relation to consumers, business-to-business
audiences=
> and other=20
> constituencies is shifting as well.=20
>
> "People have changed and the way we use sponsorship to reach them must
chang=
> e=20
> also," Ukman said. "The chasm that separates the values and expectations
of=20
> the changed consumer from the signs, ad spots and short-term-volume goals
of=
> =20
> traditional sponsorship creates a huge opportunity for forward-thinking
spon=
> sors=20
> and properties to make a real impact by creating real value for
themselves=20
> and their stakeholders."
>
> IEG is so convinced that sponsorship has reached a crossroads, that it
has=20
> themed its annual conference=E2=80=94the world's largest gathering of
sponso=
> rship=20
> practitioners=E2=80=94Forget Sponsorship...As You Know It. Supporting that
t=
> heme, the March=20
> event will feature keynote addresses from innovators such as Oakland
A's=20
> general manager Billy Beane and Jane's Addiction lead singer and
Lollapalooz=
> a=20
> founder Perry Farrell.
>
> Innovative chief marketing officers who are leading next-generation=20
> sponsorship programs also are keynoting the conference. They include:
Micky=20=
> Pant of=20
> Reebok, Larry Light of McDonald's, Warren Kornblum of Toys "R" Us, and
John=20
> Costello of Home Depot.
>
> For details from IEG Sponsorship Report's 20th annual industry
forecast=E2=
> =80=94as=20
> well as additional information about the speaker line-up and agenda for
Forg=
> et=20
> Sponsorship...As You Know It, the 21st annual IEG Sponsorship
Conference=E2=
> =80=94click=20
> here.=20
>
> About IEG, Inc.
> IEG is the world's leading provider of independent research, training
and=20
> analysis on sponsorship. Founded in 1981, IEG provides corporations with
the=
> =20
> strategy and tools to harness the sales and marketing power of sports,
arts,=
> =20
> events, entertainment and cause marketing.=20
>
> IEG offers services that include consulting, sponsorship intelligence
and=20
> valuation. IEG also publishes IEG Sponsorship Report, the international
biwe=
> ekly=20
> newsletter on sponsorship; the IEG Sponsorship Sourcebook, the
definitive=20
> guide to sponsors, properties and agencies; and other industry
publications=20=
> and=20
> sources.
>
> IEG also is the leader in sponsorship training. Its internationally
renowned=
> =20
> Annual Sponsorship Conference, now in its 21st year, attracts a capacity
cro=
> wd=20
> of delegates each year. Through its conferences and seminars, IEG has
traine=
> d=20
> more than 25,000 sponsorship executives worldwide.
>
> For More Information Contact:
> Jim Andrews, IEG, Inc., Tel: 312/944-1727; Fax: 312/944-1897;=20
> E-mail: jandrews at sponsorship.com or visit IEG's Web site:
www.sponsorship.co=
> m
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 19:33:38 EST
> From: TCASHWIGG at aol.com
> To: dixielandjazz at ml.islandnet.com
> Subject: Re: [Dixielandjazz] Battle of the Bands
> Message-ID: <c4.232db78.2d2221e2 at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
> MIME-Version: 1.0
> Content-Transfer-Encoding: 7bit
> Precedence: list
> Message: 11
>
> In a message dated 12/29/03 3:53:33 PM Pacific Standard Time,
TBW504 at aol.com
> writes:
>
> >
> > Every year there is a battle of the bands during the French Quarter
Festival
> >
> > which is supposedly decided on public acclamation. After many years
> > experience
> > I have learnt to avoid it at all costs. The amplification is
ear-shattering;
> >
> > bands mostly play rabble-rousing material; the "winner" is chosen before
the
> >
> > contest starts as far as I can observe. Be warned!
> > Brian Wood
> > _______________________________________________
>
> 'Tis pretty much the same in all of them Brian, hand picked winners by the
> sponsors and or organizers is not uncommon at all. I used to run them
back in
> the hey dey of rock and roll, and the local favorites almost always
> mysteriously win. If it is sponsored by a major advertiser they always
bring in their
> "wringer" pre selected winner for the finals and blow everyone else away
in any
> amateur contest. The sponsors like it because they take it from pub to
pub to
> pub all across the country and sell a lot of BEER and souvenir stuff not
only
> to the audience but the bands and all their fans that show up to root them
> on.
>
> I have on occasion entered a group or two into such competitions that I
knew
> would and should walk away with the first prize, and had them not even be
in
> the running even after several standing ovations from the audiences which
had
> never seen them before. And watched a hand picked mediocre act walk away
with
> all the prizes.
>
> New Orleans competitions, I would not go near with a "Twenty Foot Pole"
many
> strange things have been know to go on in New Orleans, the only thing that
is
> slick in that fair City is unfortunately not the oil slick on the Mighty
> Missisip. They wrote the book on Slick in New Orleans.
>
> Don't forget, there is generally an ENTRY FEE attached to the application
for
> consideration to get to compete as well. Their winner usually gets a
> "Recording Contract" with some obscure label, and Recording Studio Time
between 3
> and 6 a.m. at a Studio connected with the Mystery Record label, and both
are
> usually affiliated with the Booking Agency that also gives the winner an
> exclusive contract for one year just in case, Sometimes they might
actually get
> some band equipment that has been donated by a sponsor, but that is
probably also
> factored into the winners deal, so it is all under control.
>
> a. they ever record anything,
> b. it ever gets released by the label, (Before they go out of business)
> c. Anybody ever wants to book the band.
>
> Cheers,
>
> Tom Wiggins
> ------------------------------
>
> Date: Mon, 29 Dec 2003 23:29:26 -0200
> From: "Alberto Martino" <tmartino at terra.com.br>
> To: <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] RE: La Banda (to Prof. Gunter)
> Message-ID: <000001c3ce74$5cd5ceb0$acabd5c8 at crash>
> In-Reply-To: <E1Ab3Yd-0007Sk-07 at ml.islandnet.com>
> Content-Type: text/plain;
> charset="iso-8859-1"
> MIME-Version: 1.0
> Content-Transfer-Encoding: quoted-printable
> Precedence: list
> Reply-To: tmartino at terra.com.br
> Message: 12
>
> Polyglot Gunter wrote:=20
> <<<<<<<<<<<Hi Steve,
>
> >PS. If you got that far, don't you just love the name: "El Banda=20
> >Gigante"?
> Yes I do. I'd probably like it better if it was "La Banda Gigante."
> Cheers,=20
> Bill "Pero mi banda is muy peque=F1o" Gunter >>>>>>>>>>
>
> Hi Bill
> I'd probably like it better if your nickname was:
>
> ---Bill "Pero mi banda Es muy peque=F1A" Gunter---=20
>
> Tito (picky picky) Martino
>
>
>
>
> ------------------------------
>
> Date: Tue, 30 Dec 2003 01:55:39 +0000
> From: "Bill Gunter" <jazzboard at hotmail.com>
> To: dixielandjazz at ml.islandnet.com
> Subject: RE: [Dixielandjazz] RE: La Banda (to Prof. Gunter)
> Message-ID: <LAW9-F92400X0Ybt2FC0004b95e at hotmail.com>
> Content-Type: text/plain; format=flowed
> MIME-Version: 1.0
> Precedence: list
> Message: 13
>
> Hi Tito,
>
> >I'd probably like it better if your nickname was:
> >
> >---Bill "Pero mi banda Es muy pequeñA" Gunter---
> >
> >Tito (picky picky) Martino
>
> Is, es, is, es, . . . it ain't easy to escape the influence of one's
native
> tongue. I was thinking that Steve would jump on that but perhaps he was
> being magnanimous.
>
> Pero, es verdad que mi banda es muy pequeña.
>
> Como se dice en Español "The Boondockers"?
>
> Bill
> jazzboard at hotmail.com
>
> _________________________________________________________________
> Working moms: Find helpful tips here on managing kids, home, work - and
> yourself. http://special.msn.com/msnbc/workingmom.armx
>
>
> ------------------------------
>
> Date: Mon, 29 Dec 2003 21:14:06 -0500
> From: Stephen Barbone <barbonestreet at earthlink.net>
> To: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Big Bands
> Message-ID: <3FF0DF6E.811AA1 at earthlink.net>
> Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854";
> x-mac-creator="4D4F5353"
> MIME-Version: 1.0
> Content-Transfer-Encoding: 7bit
> Precedence: list
> Reply-To: barbonestreet at earthlink.net
> Message: 14
>
> Got to thinking about Big Bands and realized that here in the
> Philadelphia area, there are many more big bands than Dixieland Bands.
> For example within 50 miles of center city Philadelphia, bands that I
> can name off hand are:
>
> Audubon Jazz Explosion: 18 piece Swing, / Modern / Kenton
> Criterions: 16 to 18 piece W. Chester U Alumni Swing / Modern / Kenton
> West Chester Swing Band: 16 to 18 piece Swing / Popular Music of the 30s
> to 60s.
> Big Band From The Valley: ditto above
> Brian Pastor Band 16 piece Swing / Modern / Kenton
> City Rhythm Orchestra: Swing15 to 18 piece / Modern / Kenton
> Rhythm Doctors: Swing
> Phil Giordano's Big Band; Swing / Modern
> Walt Wagner Big Swing Band 18 piece Swing
> Joe Sudler Big Swing Machine 16 piece Swing
> Philadelphia Legends of Jazz Orchestra 16 piece Modern
>
> These are all in Pennsylvania or Delaware and there must be more in
> South New Jersey like the Midiri Brothers Big Band, in Atlantic City
> etc.
>
> And if one "googles" for "Swing Bands + your city" you are bound to find
> a bunch more in your local area.
>
> Plus, every College / University with a strong music program has a big
> jazz band.
>
> Plus possibly as many as 30% of the high schools in the USA have a
> student jazz band.
>
> Plus the nationally knowns like Brian Setzer's Big Band.
>
> What does that tell me? That "Big Band" is alive and well. It is we, who
> don't realize it or recognize it that are in trouble, sick or dying.
>
> It is just a different form of Big Band Music. Not Tommy Dorsey, or
> Glenn Miller, or Benny Goodman on a national scene, but THOUSANDS of big
> bands on a local scene.
>
> Part of the trouble is that we are so old and blinded by our narrow
> minds that we do not see or hear the big bands that are all around us.
> When's the last time we saw our local high school Big Jazz Band, or our
> local College Big Jazz Band, or that Swing Band right around the corner?
>
> It is not that we don't have kids playing big band music these days, it
> is that we oldsters are not even aware of what the hell is going on
> around us musically.
>
> Cheers,
> Steve
>
> PS. And don't forget to tune the TV on the Mummers Parade from
> Philadelphia on New years Day. Do not miss those 25 or so "Big String
> Bands" that perform late in the event. Usually about 50 pieces evenly
> split between Saxophones and gasp., choke, Banjos. Stuff like Golden
> Slippers, Avalon, Alabama Jubilee, Four Leaf Clover, World Is Waiting
> For The Sunrise etc. Yes, Philadelphia is also the banjo playing capitol
> of the world which is why they are Big "String" Bands ;-)
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 12, Issue 63
> *********************************************
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