It’s an uncomfortable song about an unimaginable act, sung by a woman with a voice that can make you cry. Recorded in 1939 as a protest to injustice, hatred and prejudice, it is the second most famous song in Billie Holiday’s repertoire and today it is the least heard. Called the beginning of the civil rights movement, "Strange Fruit" was written by Abel Meeropol, a young Jewish schoolteacher who frequented a club where Billie sang.
Billie Holiday did not live in the deep south, but she was accustomed to the horror of the day. In the 1930s lynching was in the news as an everyday part of life. The act of lynching was so prevalent that Fritz Lang, the director of the classic movie Metropolis, directed a movie called Fury in 1936 on the subject. In it, a young Spencer Tracy was the catalyst for several revengeful mob actions. They didn’t use any black people in the movie, because it was something that could happen to anyone. However, it is speculated that of the 4720 recorded lynchings between 1882 and 1951, there were three times as many unreported ones, of mostly black people. Historians cite World War II and the migrations of populations to urban areas as the cause for the decline of such acts, but until the mid 1950s they still happened.
In my opinion, this song was a contributing factor to the harsh treatment of Billie by the legal system and the music industry in the 1940’s. Her death, in sickness and poverty in 1959, can be traced back to her inability to obtain a cabaret license from New York City authorities because of drug arrests. As she grew older, all she wanted was to live in the city and sing, not travel the country and be subjected to poor treatment.
Today, the song is still powerful, hauntingly beautiful and one of the saddest things you can ever hear.
There are hundreds upon hundreds of Christmas songs. There are covers of Christmas songs in all genres, which explodes the hundreds into thousands of songs. But, for Thanksgiving, you have to stretch to get a song. You have to play on the theme of thanks. You have to explore the subject of food. You need to wander in the garden of blessings. You have to find a song about going home or gathering the harvest. Let’s face it, Thanksgiving is a hard word to rhyme.
The only song I could remember off the top that has Thanksgiving in the lyric is "Over The River and Through The Woods" originally called a "New England Boy’s Song About Thanksgiving Day." Over the river, and through the wood, to Grandfather's house away! We would not stop for doll or top, for 'tis Thanksgiving Day.
Some of you might think I have lost a marble or two because in this song Christmas Day has often replaced Thanksgiving Day, making it an all-purpose holiday tune.
My investigation took me to an English group, Steeleye Span (not Steely Dan) who does a version of Come, Ye Thankful People, Come, which talks about harvest in the lyrics, but because it is an English hymn, it doesn’t mention Thanksgiving directly. Come, ye thankful people, come, Raise the song of harvest home! All is safely gathered in, Ere the winter storms begin . . .
Doesn’t that sound like good advice for Chicagoans?
Speaking of Steely Dan, if you stretch for a thanksgiving song, you can add "Deacon Blues" to the playlist because of their reference to college football and the Crimson Tide. So, while we’re stretching, let’s go old school into traditional jazz with Thelonious Monk’s "Stuffy Turkey." This is a pour-a-cocktail-and-relax-with-your-guests track. It will make you think you are back in the days of Mad Men and Playboy After Dark. To keep that feeling going, follow up with Kenny Burrell and Stanley Turrentine’s "Wavy Gravy."
When the oven bell rings to say that the dinner is ready and you want your guest to move to the dining room, pull out Mongo Santamaria’s "Sweet Tater Pie." The upbeat bongos and horns will have them dancing to the table. Settle everyone in their places with Vince Guaraldi’s "Thanksgiving" from the Peanuts' special of the same name, the only smooth jazz song I could find in my Thanksgiving jazz scavenger hunt.
While you’re eating, it’s hard to choose between Lee Morgan’s "Cornbread" (with Herbie Hancock on the keyboards) and Booker T and the MG’s "Soul Dressing," so play them both! And to round out the meal, throw in Booker’s "Green Onions," too. As a matter of fact, just do both albums.
If you see any jealousy on any of the faces gathered round the table, you play Cab Calloway’s "Everybody Eats When They Come To My House" and then give them a low volume dose of Patti Austin’s "I Can Cook Too!"
Lastly, to get your guests out the door and on their way, Manhattan Transfer’s "Soul Food To Go" is perfect for fixing take-home plates and finding coats.
After the dishes are done and the food put away, if the overload of turkey didn’t make you sleepy, play Dave Brubek’s "Thank You." This melodically tender solo piano composition that sounds like a lullaby. Dave explains that he wrote it after visiting Chopin’s home in Poland as a thank you for inspiring so many musicians. The beginning is classically inspired, the middle has a soft honky tonk flavor and the ending is a blend of snippets of Chopin melodies.
Next day, to understand what the food coma called Thanksgiving is doing to your body, listen to Eddie Harris sing "That’s Why You’re Overweight," a bluesy monologue of what people have eaten all in one day. Wickedly funny and best reserved for the day after any feast. And while you are casting shame, play Anthony David’s blues version of John Lennon’s "Cold Turkey."
Then sit down and begin to enjoy all the Christmas music!
Chicago born Chaka sang on Wendy Williams fiftieth birthday show. It was a rare TV treat. Naturally I went over to her official website.
It’s vibrant, engaging and very informative. The bio was so information packed I was impressed and disappointed at the same time. She has so many accomplishments listed that the bio was very light about her early days in Chicago. But, after reading it, I saw that they have a timeline and thinking that it will be just about her music, I explored it.
BINGO! This is what I was looking for – the early life of Chaka Khan. Complete with pictures.
It tells the tale of a girl who grew up in the crucible of the 1960’s civil rights days, the Feminist movement and the Vietnam War Protests, if you know how to read between the lines. It hints at why when she sang “I’m Every Woman” it rang so true.
Did you know that October 19th is Chaka Khan Day in both the state of Illinois and the City of Chicago? But this first weekend of August should be declared Chaka Khan Weekend because she will be at the Chicago Theater on Saturday.
Terrestrial radio. Over-the-air radio. Standard radio. Traditional radio. Conventional radio. Whatever you choose to call it, it's the radio we all grew up listening to. No special equipment required. And . . .
I am thrilled to announce that our favorite music returns to this type of radio this weekend! On 90.9 FM WDCB. Beginning this Sunday, February 9, I will be hosting The Sunday Jazz Brunch on WDCB each weekend from 11:00am to 2:00pm.
What can you expect from the new Sunday Jazz Brunch? For starters, you'll hear quite a few artists who've made Sunday mornings a special place for us over the years on our other Sunday Brunch shows: Ramsey Lewis, George Benson, David Sanborn and Grover Washington Jr., just to name several. We'll also feature a special "Chicago Music" segment each hour, showcasing artists from Chicago or based in Chicago.
Since WDCB is primarily a jazz station, the new Sunday Jazz Brunch will favor that particular genre in both the instrumental and vocal content of the show. As always, however, I'll be choosing music based on how well it fits that uniquely intimate Sunday mood.
I invite you to give the new show a try and let me know what you think. Address your comments, suggestions and requests to me at [email protected].
(By the way, if you've gotten used to listening to radio through your computer or HD Radio, The Sunday Jazz Brunch is also available on WDCB 90.9 HD-1 and streaming on www.WDCB.org. And the Smooth Jazz Sunday Brunch will continue to air on www.SmoothJazzChicago.net from 6am to 6pm Central each weekend.)
~Rick O'Dell
Our Smooth Video of the Day: Ramsey Lewis will officially launch The Sunday Jazz Brunch with this tune.
Paulinho Garcia and his Trio perform at the Parrot Cage this Sunday
I hope you’ll plan on
joining Scott Adams of The Sounds of Brazil and me this Sunday, August 25, at
the Parrot Cage Restaurant. It’s the
first ever (hopefully the first annual) Summer Samba Brazilian Brunch presented
by SmoothJazzChicago.net and BrazilClubUSA.com.
Executive Chef Angel
Cruz is preparing several Brazilian dishes for us to try, and you’ll be able to
dance the samba to the music of the Paulinho Garcia Trio.
Seatings are at 10:30am
and 1:00pm. Our brunches at the Parrot
Cage always sell out, so a reservation is a must. Please call (773) 602-5333 and reserve your
table now.
See you Sunday!
Our Smooth Video of the
Day: Paulinho Garcia and Tony do Rosario perform one of the best loved Brazilian melodies of all-time.
Smooth Jazz
fan Kathy Baker of DeKalb put it best: “I
had the most fantastic time last year.”
She posted those words on Facebook right after I put up the news that we’d
be giving away a weekend package to this year’s Jazz on the Vine.
Like Kathy,
you could be coming back eager to share the exciting details of your weekend at
the AAA Four Diamond Osthoff Resort’s annual “Jazz on the Vine” weekend May 10
and 11. We are giving away a grand prize
package which includes overnight accommodations for two and tickets to all the
performances:
May 10
Saxophonist
Shilts (5:15pm)
The Larry
Carlton Quintet (7:15pm)
Larry Carlton
Acoustic
Alchemy (9:15pm)
May 11
Trumpeter Cindy
Bradley (1:45pm)
Guitarist Matt
Marshak (3:45pm)
Fourplay
(6:15pm)
Saxophonist Michael
Lington with special guest Bill Champlin (9:45pm)
To enter,
click here. Give us a list of your three
favorite Smooth Jazz artists or tracks.
If we select your set and feature it on the air at noon on my
midday show during the weeks of February 17 or 24, you’ll win a pair of CDs by
artists appearing at this year’s “Jazz on the Vine.” And you’ll qualify for the grand prize to be
given away March 1.
(The fine
print: CDs to be awarded will depend on
what is available but will include two of the following artists: Larry
Carlton, Fourplay, Cindy Bradley, Matt Marshak, Shilts, Michael Lington,
Acoustic Alchemy. They will be mailed in 3-4 weeks. Winner agrees
to provide their own transportation to and from the Osthoff Resort.)
Our Smooth
Video of the Day: It’s Larry Carlton
captured live doing one of his signature tunes back in 1990.
One of the
finest Smooth Jazz festivals in the entire country is less than a three-hour
drive from Chicago. Each year, over
Mother’s Day weekend, the Osthoff Resort hosts its acclaimed “Jazz on the Vine”
event, combining a top lineup of Smooth Jazz performers, exceptional wines and
sophisticated cuisine.
For 2013, it
all starts May 10 with a Friday night triple-header: saxophonist Shilts followed by the Larry
Carlton Quintet and Acoustic Alchemy.
Saturday’s entertainment begins in the afternoon with trumpeter Cindy
Bradley and guitarist Matt Marshak.
Then, following a dinner break, the music resumes with the world-class
musicians of Fourplay and saxophonist Michael Lington with special guest,
vocalist Bill Champlin. If you’re able to stay awhile longer on Sunday morning,
the Osthoff serves a festive jazz brunch for Mother’s Day starring
pianist/vocalist Marcell Guyton.
Smooth Jazz
fans in Chicago who make the drive up to scenic Elkhart Lake, Wisconsin, for “Jazz
on the Vine” have never been disappointed.
I know because, for the past eleven years, I’ve heard from dozens and
dozens of them, going back to the days when WNUA was only too happy to spread
the word about this exciting event. For
many, it’s become an annual tradition.
It’s not
unusual for the Osthoff to run out of rooms during “Jazz on the Vine”
weekend. I suggest you book early so you
won’t be disappointed. Right now would
be a good idea. Click here for more
information. Or call toll-free (877)
496-4113.
During the
weeks of February 18 and 25, with my Lunchtime Listener’s Choice, I’ll be
giving away CDs by artists who’ll be appearing at this year’s “Jazz on the
Vine.” Be one of my noontime winners
either week, and you’ll qualify for the grand prize, overnight accommodations
for two and tickets to all of the performances.
To enter, click here.
I asked for it and I got it:
lots of excellent questions from listeners and fans. I promised to answer them all, so here we go.
What are the chances Smooth Jazz
will be back on regular radio in Chicago?
As a full-time format?
Doubtful, unfortunately. And now
there’s another issue that’s working against us. It came up in a conversation I had with
longtime Chicago broadcasting executive John Gehron last week. “AM’s dying,” John pointed out to me, “and
companies are trying to move their talk formats to FM.” That’s putting even more of a squeeze on
available frequencies on FM. Unless
there’s an independent owner out there who’s willing to take a chance on Smooth
Jazz, we don’t have much of a shot. But
I’ve learned never to say never . . . .
What’s your prediction for the
future of Smooth Jazz radio, short and long term?
On terrestrial radio, bleak. On satellite radio, good, although the choices
there will always be slim. On the
internet, excellent. I do think we need
more traditional radio thinking on the internet side to improve the product. There’s a lot of substandard internet radio out
there that you have to wade through before you get to the good stuff. Internet music stations are not created
equal.
Give us your vision of the Smooth
Jazz station you’d create if cost were no object.
Wow—I get to dream with an open checkbook? Well then, I’d love to create a national
Smooth Jazz superstation to be delivered on all the major platforms: terrestrial, satellite and internet. We’d hire a veteran major market Smooth Jazz
host to handle each daypart (Talaya from the Wave/Los Angeles; Carol Handley
from KWJZ Seattle; Miranda Wilson from KKSF San Francisco; Michael Tozzi from WJJZ
Philadelphia; Sandy Kovach from WVMV Detroit; and so on) and fill in with the
likes of Dave Koz and Steve Cole. On
weekends we’d feature premiere syndicated shows such as Legends of Jazz with
Ramsey Lewis, Chill with Mindi Abair, the Dave Koz Weekend Show. Oh, and we’d be playing the traditional
Smooth Jazz mix, 55% instrumental, 45% vocal.
I’d bring the entire genre and format together under our
umbrella to coordinate marketing and promotion of everything from concerts to
cruises to new releases, and we’d have some kind of presence—someone on the
ground—in every city where a Smooth Jazz event would take place. We’d coordinate with record labels and artist
managers to make sure nothing would escape our attention. And we’d do a fair amount of contesting. It would be a total one-stop Smooth Jazz network.
I’d also like to see us get back to presenting concerts across
all tiers, from top-priced shows in large venues all the way down to intimate “Listener
Appreciation”-type parties where we introduce a new artist and give away
tickets or charge only $20 or so to get in—in as many cities as we could.
I want the format to do what it did best in its heyday, to
be a classy place where people can come to relax and be soothed or be uplifted
and inspired.
Why did the format fail so hard on
commercial radio so fast?
RO: The end of the
format on commercial radio wasn’t all that fast. It was more of a steady decline. Here’s a chronology of when the Smooth Jazz
stations in the country’s top ten markets left the format for good:
New York – 2/08
Los Angeles - ???
Chicago – 4/12
San Francisco – 5/09
Dallas/Ft. Worth – 10/06
Houston/Galveston – 3/08
Washington DC - 8/09
Philadelphia – 9/08
Atlanta – 1/09
Boston – 9/99
These format flips weren’t equally significant. When WQCD in
New York decided to pull the plug, that was the tipping point, when everyone
else started losing confidence in Smooth Jazz. Madison Avenue saw the change happening in
their backyard and started diverting ad buys to other formats. When revenues start to drop, ownership gets
nervous and starts looking in a different direction.
Do you agree with Carol Ray that 25
year old “chestnuts” should be retired into special programming to allow for
new music to be almost “exclusive?”
I know where Carol’s coming from, and I respect that. I beg to differ. Playing lots of new music sounds exciting,
but it’s a ratings killer. On the other
hand, the chestnuts I think she’s referring to have had proven staying power with
our audience. It wouldn’t be the same if
we stopped playing Anita Baker, Luther Vandross, Stevie Wonder, Sade and
artists like that. When they wanted to
unveil the RAV4 in 1996, Toyota didn’t stop producing the Camry. The popularity of the Camry enabled Toyota to
finance new models such as the RAV4.
How do you select which artists to
play?
First, we need to break this down into two groups: instrumental artists and vocal artists. Within the former, we look for a compelling
and melodic hook (e.g., is it hummable?).
Within the latter, it gets a bit tricky.
Ideally, we look for an artist who has musical integrity and some degree
of jazz heritage, like an Al Jarreau or Steely Dan. We also consider artists who aren’t
associated with jazz but who are generally embraced by Smooth Jazz listeners,
such as Michael McDonald, Phil Collins and Seal.
How do new artists get airplay?
Again, we need to draw a line between instrumental and vocal
artists. New instrumental artists are
judged in the same way we judge established instrumental artists: is the music catchy and compelling? For new vocal artists, the standards are much
tougher. Since vocals are the only
consistently familiar selections on the playlist, it’s risky to slip an
unfamiliar artist into that position.
New vocalists need to be a nearly perfect fit to be considered.
Why don’t you play newer music from
established artists (e.g., David Sanborn) instead of the same old songs they
released years ago?
Say you’re at a Hall and Oates concert. Which group of their songs do you think will
get the bigger hand?
Group A: “So Close,” “Everything Your Heart Desires” and “I’ll
Be Around.”
Or Group B: “Kiss On My List,” “I Can’t Go For That” and “Rich
Girl.”
Group A is all newer music.
Group B is “the same old songs.”
As in the case of Hall and Oates, when it comes to David
Sanborn, our listeners are much more apt to embrace his older material (such as
“Chicago Song” and “Maputo”). That’s why
you hear more of it.
Why do you play music that was never
Smooth Jazz when it was released (e.g., “Raspberry Beret” by Prince)?
As a general rule, the narrower a format defines its musical
boundaries, the smaller the pool of potential listeners. If we played strictly Smooth Jazz artists,
all we’d appeal to would be the diehard Smooth Jazz fans. And we’d never grow our audience. A song like “Raspberry Beret” helps open up
the format and make it accessible to more people. Also, having a few mass appeal pop songs on
the playlist never hurts in a workplace situation where majority rule often
decides which station gets played there.
How much input do advertisers have
in the selection of the music? How much
input do listeners have?
I can’t recall ever getting any input from advertisers, to
tell you the truth. Listeners, however,
can have a big say in what gets played, through requests and participating in
station research projects such as focus groups and music tests.
Do you listen to other Smooth Jazz
outlets, like television stations, to find music and artists you might not otherwise
hear?
Yes! But this might
surprise you: most of the time I listen
to other broadcast outlets to try and find non-Smooth Jazz artists who might be
a good fit for us. I do that because,
between the national charts and record promoters, I’ve got Smooth Jazz pretty
well covered.
What makes a song right for the
Smooth Jazz Sunday Brunch but wrong for the weekday?
For many of the same reason restaurants have separate menus
for breakfast and dinner. The mood, the
feel, the lifestyle—they’re all different.
Sunday mornings call for lighter, more elegant musical fare. You’re not at work, wanting music to help
motivate you to finish a project.
Rather, you’re kicking back with a cup of coffee and the paper. When you're at work, you don't want something that might slow you down.
What can we listeners do to make
SmoothJazzChicago.net more successful?
(Speaking for myself, I definitely want you and this venture to
succeed.)
Every little bit helps a lot: telling a friend about the station and
sending them the link; posting the link on your Facebook page; liking our
Facebook page; attending a concert; patronizing an advertiser and letting them
know you appreciate their support of SmoothJazzChicago. We’re grateful for any of these things.
Our Smooth Video of the Day:
Without the Smooth Jazz format, how many of us would even have known
about an artist such as Richard Elliot and a tune like “Street Beat?”
There’s some
excellent news for iPhone, iPad, and iPod Touch users! The long awaited Smooth
Jazz Chicago app is now available for iOS devices. With it, you can listen to the live stream of
SmoothJazzChicago.net anywhere in the world, 24/7 as long as you have an
internet connection.
The Smooth Jazz
Chicago app also provides you with information about the ten most recent songs
played on the station. Like what you
hear? You can share a song with your
friends via Facebook or email or purchase it in the iTunes store with just one
click.
Start your day off right. The app features an
integrated alarm clock. Plus, you can
check up to date traffic and weather reports for the Chicagoland area as well.
The Smooth Jazz
Chicago app is free and can be found in the App Store by clicking this link
or by searching for “Smooth Jazz Chicago” from iTunes or from your iOS device. It is compatible with iPhone, iPad, and iPod
Touch devices running iOS 4.3 or later.
You can download a
version of the Smooth Jazz Chicago app for your Android device in the Google
Play store here.
If you’re using
another device such as a BlackBerry or Windows Phone, check out my previous
blog for information on how to listen to SmoothJazzChicago.net.
Have any
questions, concerns, or comments? Let us
know!
A year ago I was having a conversation with floral designer/concert
promoter/raconteur Bernie Scott, when he threw a name at me that I wasn’t
familiar with: Phil Denny. “Phil’s real good,” Bernie was quick to say. Since I’d come to trust Bernie’s ears after
all the years he brought in top notch talent for “Smooth Jazz at South Shore”
in Michigan City, I decided to give Phil’s debut CD, Crossover, a serious listen.
Two words: Bernie’s right.
Phil’s first single, “Push,” has been in high rotation here since
SmoothJazzChicago.net launched in mid-November.
I also had the pleasure of meeting Phil in October when he was part of
Peter White’s band at the Montrose Room and Prairie State College, where he
more than held his own. Equally
impressive about him was that, backstage, he hit me with some very good
questions about our business—where were are right now, where we’re headed, what
a new artist needs to do to move up to the next level. In other words, he's more than just your average camera-friendly face and sweet sounding horn.
My first impression of Phil Denny was ALL positive. He’s just the type of artist we need to move
the genre forward the next five-ten years.
And now, we get to ask him some questions.
RO: Ideally, what would you, an artist, like from
radio, be it over-the-air or internet? If you could program
your own radio station, what would you do differently? What is radio
doing right?
PD: I think it is great that we have
on-going support for the genre at radio despite the loss of most of our terrestrial
stations. The rise in internet radio programming accompanied by the support of
the listeners proves there is a shift in the way in which listeners get their
smooth jazz fix. Access to the music is
key in a "now" culture. Continuing
to offer a broad palette of artists that bring diversity to the format is
essential to growth. I think internet
radio is especially helpful! Artist interviews, segments where new music is
featured, themed programming, station sponsored artist showcases and the use of
social media to engage the listener are all ideas I would implement if I
operated a station. Radio is doing right
by continuing to support the format. In addition, recognizing the trends in how
we listen and respond to music.
RO: What do you expect when you deal with a concert
promoter?A venue?
PD: When dealing with
a concert promoter or venue agent, I look at it as I would any other business
transaction. There should be a certain amount of fact finding involved to
identify whether there is a "good fit." In most cases, the promoter has already done
their homework, though it is also equally important for the artist to
understand why he/she is being hired.
Both parties involved must be fair and willing to accept an
equal amount of risk. An open mind
helps! It is important for the
artist/promoter relationship to work in unison to achieve the end result. I
have found it's best to have a written agreement that outlines the expectations
of the promoter and also what the promoter plans to deliver. Compensation for the performer should also be
fair. Too many times I hear that it
costs the artist to play the gig. While
there is value in exposure, the terms should support the artists.
RO: What's the one thing in your world as an artist, if you could
change, would improve your part of the equation the most?
PD: More live
performance opportunities. As an independent artist, I depend on developing new
relationships that will support my music. The best way to do this, in my opinion, is to
be seen and heard live and to interact with the fans on a personal level. Many of us are closeted and have limited
exposure for this reason. Many of us
have started to create our own opportunities by promoting, funding and
executing our own concerts. I feel
fortunate to be able to support my radio promotions, and that has helped with
my growth. Next is to play the regional
and national stage!
RO: What are the things you would most like to
see happen in Smooth Jazz/Contemporary Jazz in 2013?
PD: We must remember that the listener
base is shifting to some degree, and the evolution of music does not slow down.
While smooth jazz listeners are loyal
listeners, when reaching a faithful audience those who make key decisions
should recognize people are speaking out about change. With that said, it is my hope that a broader
palette of artists be introduced both to radio and to the stage. As an artist, I also feel it would be helpful
if festival committees would do a better job making their submission process
known to the artists/managers. It seems
as though many decisions are made without a fair selection process. If there even is a process!
