Daily Archives: January 19, 2017

John Paul White’s concert in Denver tonight has been cancelled

His last show was in Vancouver on Jan. In the meantime, keep warm with this video of White’s Tiny Desk Concert performance. White tweeted about a possible snag en route to Denver on Wednesday:

Denver…this is where we are. 16. Bad news for fans of ex-Civil Wars singer-songwriter John Paul White: According to his publicist, he’s cancelled his Thursday night show at Denver’s Bluebird Theater. We’ll update this space with more info as it comes in. Photo by Allister Ann via Sacks and Co. John Paul White plays the Bluebird Theater on Jan. Inclement weather in the Pacific Northwest prevented White from making the show on time. 19. https://t.co/58AkUixIye
— John Paul White (@johnpaulwhite) January 18, 2017

According to his publicist, the show could potentially be rescheduled, but no plans have been made as of press time. We’ll keep you posted. Refunds are available at the point of purchase.

Jazz: “The Savory Collection” a genuine treasure trove

The result is intoxicating: Dexter Gordon, Stan Getz, Jay Jay (later J.J.) Johnson, Fats Navarro, Milt Jackson and Kenny Dorham are all at the peak of their powers here. This is an essential history lesson, and deserves a place on the shelf next to those lauded Parker recordings. * * *
In the 1960s, the soul jazz group The Three Sounds enjoyed an admirable run of success. There’s been a lot of significant news for jazz history buffs in recent months. The Resonance label, which has been doing excellent reclamation work in the past few years, has unearthed a live collection, “Groovin’ Hard,” which collects live performances from a Seattle club called The Penthouse. History should be kinder to the smoldering intensity of his approach. * * *
While Savory is an obscure name, Savoy is not. Here are some shining excavations. 29, and Colorado piano master Purnell Steen and his band Le Jazz Machine performs two sets there to celebrate Black History Month on Feb. Follow him on Twitter: @Bretontheradio This is the kind of recording you put on for a nice dinner gathering or to introduce someone to piano jazz. Hopefully the powers that be will make more volumes soon. 25 … Bassists Christian McBride and Edgar Myer team up at the Newman Center For The Performing Arts on Jan. The painstaking (technical and legal) process of making some of these tapes available to the public has resulted in the iTunes-only release of two volumes from “The Savory Collection.” The music that has been released so far is a genuine treasure trove. Volume 2 features 70-plus minutes of broadcasts from pianist Count Basie’s band featuring tenor Lester Young, and it’s as exciting and revelatory a discovery as the first set. But now, the forever-meticulous compilers at the mail order Mosaic Records label have just assembled another mammoth box set, “Classic Savoy Be-Bop Sessions 1945-49.”
The set includes 10 CDs, yet still omits the earthshaking records that saxophonist Charlie Parker made for the label, because Mosiac is likely assuming anyone interested in taking this sort of deep dive has those Parker titles already. Beginning with a devastating extended rendition of tenor saxophonist Coleman Hawkins‘ “Body And Soul” and running through gifts from Ella Fitzgerald, Fats Waller and Lionel Hampton, the first volume serves as a sampler of music that very few knew existed. Photo by Michael McGrath, The Know. 26 … Pianist Bill Charlap brings his trio to Dazzle Jazz on Jan. 4. The rights to the label’s catalogue has been in the hands of numerous owners in recent decades, and many of them haven’t necessarily done a sterling job of keeping such vital art in print. This music has been available before, but never in one place and put together with such care. Get more information at mosaicrecords.com. weekday mornings at KBCO 97.3 FM. Bret Saunders (bretsaunders@kbco.com) can be heard from 6 to 11 a.m. In the 1930s and ’40s, New York radio engineer Bill Savory amassed a small mountain of live broadcast recordings from numerous swing stars and apparently hoarded them until his death in 2004. * * *
The Eric Gunnison Trio appears at Nocturne on Jan. Fronted by beloved pianist Gene Harris, the trio could bend pop hits of the day to sound like they were written to be jazz standards. FILE: A painting from the New Orleans Jazz & Heritage Festival on April 28, 2016. There’s a rotating cast of drummers over the years represented here (1964-68) but the trio clicks and enthralls the audience, and Harris is a marvel, always the showman but never showing off. There’s no information regarding a possible physical release of this music on LP or CD, so the best thing to do at this point is to support this project through iTunes. Savoy was a premier record label, releasing a great number of historic performances, particularly in the bop genre.

Train to play Fourth of July show in Colorado

Tickets are $30.00 – $99.50 and go on sale Jan. 27. 27 via axs.com. Acoustic jam outfit O.A.R. Train will chug through Colorado for an Independence Day concert. and Natasha Bedingfield will open. Do you still have “Drops of Jupiter” in your hair from the last time Train stopped by Fiddler’s Green Amphitheater? The band is touring in support of its new album, “a girl a bottle a boat,” which also hits shelves on Jan. Don’t bother washing it now: The San Francisco band is prepping for its brand new, 45-show Play That Song Tour, including yet another date at Greenwood Village’s massive outdoor music venue. Train plays Fiddler’s Green on July 4. Photo courtesy of PMK*BMC. Listen to its first single, “Play That Song,” here.

Roy Halee, the legend behind Paul Simon, keeps hidden in Boulder

His influence on albums like “Paul Simon” and “Graceland” alone — the former one of Simon’s best, the latter one of pop music’s in general — positions him as one of modern music’s great architects, even if no one knows it. “He knew if anybody was going to be able to record that, it was me,” Halee said, raising a hand to his head. There are also plans for Halee to record Simon’s next album, likely early this year. Halee’s derring-do, storied industry knowledge and knack for orchestral arrangements became the building blocks for one of Simon’s most masterful and beloved albums: “Graceland.” At 16 million copies sold, it proved an immensely popular, boundary-breaking effort unlike anything the pop world had heard before. “I studied to be a classical trumpet player and didn’t make it,” Halee said. The process, which allowed artists to better perfect their recordings or work on one song from different studios, would become an industry standard. “I knew what George Martin did with The Beatles and I looked at my father that way,” said Halee’s second son, Walter, 55, who lives near his dad in Boulder and teaches skiing at Eldora Mountain Resort. A well-placed flute on “Duncan” or a West African talking drum in “Me and Julio Down by the School Yard” gave Simon’s solo work an eclectic sound unmatched by other songwriters. As the world rallied against the nation’s apartheid government with a cultural boycott, Simon and Halee skirted the black community’s defacto African National Congress leaders, meaning the session had to be done in secret. (And aside from the occasional honk and squeak of his thick New York accent, you can hear his voice clearly.)
Halee’s classical ear helped engender good faith early in his career at Columbia, where he started working with rock ‘n’ roll acts like The Lovin’ Spoonful and The Byrds. Aside from the musicians being bused in and the bass player saying ‘Yes, sir,’ the band was used to playing close together, live.”
Culling all of his past experience, Halee strategically positioned the musicians in different areas of the unfamiliar studio and, by placing his microphones just right, figured out a way to record them. (AAron Ontiveroz, The Denver Post)
“If you could have been in the control room and heard what I heard,” Halee said, leaning over the edge of his armchair. Humility, if not shyness, holds him back when talking about his partnership with Simon. This is where he goes to get away and, when he has to, reflect on his work. “The creative process between the two of us is really something to see. Then everything moved to Los Angeles and I was laid off. “And I think he’s enjoys his freedom.”
And, at 82, some would say it’s time to relax. A commemoration of the more than 5 million copies sold of Paul Simon’s “Graceland” at the home of the record’s co-producer Roy Halee. “I have turned down lots of well-known artists when I’m busy with Paul, because he’s the best to work with.”
Walter Halee, who gets new music tips from his college-aged children, wishes his dad would record more modern artists. “(Digital) takes all of the creativity away from anybody who wants to paint colors. Halee produced for Simon and Garfunkel and won multiple Grammy Awards for songs including “Bridge Over Troubled Water” and “Mrs. (AAron Ontiveroz, The Denver Post)
 
Simon told Halee that he wanted to record South African music for that new album, specifically in Johannesburg using a group of black musicians he’d never met before. Though Simon would never affix another ampersand to his name, Halee is a collaborator as much as a producer. Needless to say, he’s OK with that. Then Simon added his lyrics and vocal melodies on top. “If Paul retires, I’m retired,” he said. While memories are known to fade, Halee’s glow. He even sat in during the recording of Bob Dylan’s “Like a Rolling Stone,” though he doesn’t remember much of that chaotic session. For 1970’s “The Boxer,” he layered each instrument and vocal harmony on top of each other, instead of recording the whole song live, as was common practice then. He was even an early adapter of multi-tracking, a recording technique pioneered by The Beach Boys and The Beatles. I get in his head, he gets in my head, and I don’t think that exists anywhere else,” Halee said. Lucky again, I walked across the street and got a job with Columbia Records.”
BOULDER, CO. Down in his man cave, adjacent to that row of gilded LPs (which have all gone multi-platinum at this point), a vinyl-encumbered shelf harbors Halee’s hard-to-spot Grammy awards. Halee produced for Simon and Garfunkel and won multiple Grammy Awards for songs including “Bridge Over Troubled Water” and “Mrs. It’s all just a part of their chemistry. 29. It’s in stark contrast to the stories he has from his early career, working and cavorting with the likes of Simon & Garfunkel, who’d become good family friends. “I always looked at it as painting pictures,” he said. They added drums, electric guitar and bass to the gripping harmonies of the duo’s now famous song “The Sound of Silence,” shooting it to the top spot of Billboard’s Hot 100 chart for two weeks in January 1966. Instead, he said, a few vintage mics and a tape machine might do the trick. But some memories are too important to keep a secret. I got a job at CBS Television. It’s hindered his ability to play trumpet, a talent he’s recently recouped. “But I was lucky. Record producer Roy Halee at his Boulder home on Dec. Back in New York, he spent countless hours splicing together the carefree jams into fluid songs. Although Halee is hesitant to say there would be no “Graceland” without him, he knows Simon feels that way. That classical ear is also one of his sonic hallmarks, a rare sensibility that informs the expansive landscapes of his work with Simon & Garfunkel all the way through “Stranger to Stranger,” Paul Simon’s latest. Robinson.” (Photo By AAron Ontiveroz/The Denver Post)
Seven years ago, Halee suffered a stroke, which impacted his speech and dexterity. Music is still his passion and pastime. Halee, along with fellow behind-the-scenes legend Tom Wilson, proved to be just that. Even the sound digitally — no comparison.”
With that thought, Halee’s eyes light up as he glances toward the sound system occupying a good portion of his basement. Sometimes, the difference between a commercial flop — which is how “Wednesday Morning 3 A.M” first turned out — and a No. “It was obvious there was tremendous talent going on there.”
Yet sometimes, as Halee knows, raw talent isn’t enough. But first came the hard part. Robinson.” (AAron Ontiveroz, The Denver Post)
In the basement of his east Boulder home, Roy Halee pulls an ornate version of Paul Simon’s debut self-titled album from a wall of gold records. Tuesday marks the 45th anniversary of the record’s release, but Halee had no idea of the importance of the date. At 82 years old, the fine details of his long career have blurred. Some gold records from the Simon & Garfunkel years hang on Roy Halee’s wall in his Boulder home. As Simon’s first solo effort after the dissolution of Simon & Garfunkel, the album represents a career crossroads — both for Simon, who used it to prove his solo genius, and for Halee, who produced it along with a handful of Simon’s other classic albums. But when Simon calls, he’ll always answer. Like the time he first met Simon, recording Simon & Garfunkel demos that became the folk duo’s debut album, “Wednesday Morning 3 A.M,” at Columbia Records more than 50 years ago. After another intense session with Simon, there’s nothing he’d rather do than come back down to his humble cavern, curl up in his chair and listen to the budding tunes they’ve crafted together. Similarly, Simon’s self-titled debut was defined by Halee’s “anything goes” mentality. Halee is equally known as an industry trailblazer. “I’d love to see him work with Mumford and Sons or some of these folksy bands now, but he’s gotten good recognition through Paul,” Walter said. 1 hit is the right producer. “But he definitely plays it down.”
Halee’s unassuming residence in Boulder, where he moved from Long Island a decade ago after visiting his daughter Laurie, who attended the University of Colorado, evinces that austerity. Before we knew it, there were hundreds of people showing up for autographs.”
The public has never clamored for Halee in the same way. While he can’t say much about the record’s concept, he definitely wants to limit his use of computer programs and digital interfaces. “We’d play pickup basketball with them,” Walter said, with a laugh. For Simon’s upcoming, as-yet-untitled album, Halee would like to get back to his old-school roots. “It was one of the hardest jobs I’ve ever done in my life. With Simon & Garfunkel, he became more hands-on through experimentation. To make things more complicated, Simon didn’t bring pre-written music to the session, but wanted the musicians to improvise what would become the basis for the whole album. Nor is he necessarily eager to revisit them. – DECEMBER 29: Grammy Awards at the home of record producer Roy Halee on Thursday, December 29, 2016. In the next room, a pair of massive speakers and a state-of-the-art turntable sit in front of his favorite recliner. When he’s not with his wife or spoiling his three brown-and-white pointers — each rescued from a North Carolina shelter — he’s here, listening to the New York Philharmonic on vinyl or playing his trumpet. The way only a hidden genius can hear them. “One time, they came over to our house (in New York) and the neighborhood got wind.