*(New York, NY) Miles Davis’ 20-year association as an artist at impresario George Wein’s renowned Newport Jazz Festival is a thriving tradition that will be celebrated with the release of Miles Davis at NewPort Debut with Musical Tributes, Workshops and more.
Newport Jazz Festival to be held July 31-August 2 celebrates the Iconic Trumpeter’s Relationship with the Legendary Newport Jazz Festival and Its revered founder-impresario George Wein, Commemorating the 60thAnniversary Of Miles’Newport Debut With Musical Tributes, Workshops and more.
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. 296-minute program includes nearly four hours of previously unreleased material.
The four-CD box set, comprised of live performances by Miles’ stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland, will be the lynchpin for a 60th anniversary commemorative weekend of events at this summer’s annual Newport Jazz Festival (July 31, August 1 & 2).
Ahead of the festival, Miles Davis at Newport1955-1975: will be available everywhere on Friday, July 17 — 60 years to the date since Davis’ breakthrough performance at Newport in 1955 — through Columbia/Legacy Recordings, a division of Sony Music Entertainment.
An interview with Newport Jazz Festival founder-impresario, George Wein, discussing his relationship with Miles Davis, can be viewed below:
George Wein discusses Miles Davis and the Newport Festival
Fans are now able to pre-order the 4-CD set bundled with a poster exclusively from MilesDavis.com (http://smarturl.it/miles_newport_d2c ). The set is also available for pre-order on Amazon (http://smarturl.it/miles_newport_amzn).
The newest entry in Columbia/Legacy Recordings’ critically-acclaimed Miles Davis Bootleg Series, Newport 1955-1975 clocks in at 296 minutes, nearly four hours of which is previously unreleased.
From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter’s Columbia signing), to his final public performance of the ’70s in 1975 (at Lincoln Center during NJF-NY, the singular “Mtume” named for Miles’ favored percussionist of that decade), the box set traces the ascendance of Miles’ music as the ne plus ultra of jazz.
The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and ‘second great quintet in ’66 and ’67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.
In that spirit, George Wein, who at age 89 still guides the Newport Jazz Festival, will preside over this summer’s Miles-centric gathering, July 31, August 1 & 2.
The lineup includes a cadre of bands led by trumpet stars Ambrose Akinmusire, Chris Botti, Peter Evans, Jon Faddis, Tom Harrell, Arturo Sandoval, and Bria Skonberg.
In a rare, historic tribute, Botti, Evans, Faddis, Harrell, Sandoval and Skonberg will perform one Miles Davis number during their sets.
The festival weekend will feature a number of exciting panel discussions focusing on Miles Davis, created in conjunction with the Miles Davis Estate and curated by Grammy Award®-winning music historian Ashley Kahn.
Highlights include an interview with George Wein conducted byNew York Times critic Nate Chinen (co-author of Wein’s autobiography Myself Among Others: A Life In Music); a celebration of Miles and the St. Louis trumpet tradition with excerpts from the Clark Terry documentary Keep On Keepin’ On (produced by Quincy Jones); and a discussion of Miles’s romance with electric guitars.
There will also be a playback of music from the new Columbia/Legacy Recordings box set Miles Davis Bootleg Series, Newport 1955-1975 with co-producer of the collection—Grammy Award®-winning producer Steve Berkowitz and consultant Nell Mulderry.
Kahn penned the liner notes to this set, noting how Miles’s historic performances at the Newport Jazz Festival never failed to “show the trumpeter repeatedly rising to the occasion, delivering groundbreaking music every time he hit the Newport stage.”
In this symbiosis, George Wein employed Miles to make Newport great, and Miles obliged by bringing some of the post-modern jazz era’s paramount musicians to the festival stage in his bands.
The Newport Jazz Festival (and starting in 1959, Wein’s Newport Folk Festival) enabled audiences of 10,000 to dig the music in a surprisingly intimate setting, where you really could hear a pin drop. “When Miles played his solo on ‘Round Midnight’,” Wein remembers of that breakout 1955 jam, “he put his horn right up to the microphone, which trumpet players didn’t do.
Normally they like to get some air and play a little bit away from the mic but he put the bell of his horn right up against it, and it came through clear as a bell.”
In that moment, with that simple move, Wein states, “That’s when he became the star of the festival and later [Columbia Records A&R man] George Avakian went up and signed him.”
With his “ecumenical” music mix in these five- and six-hour programs – from traditional to bop, hard bop, and re-bop, from cool, modern and post-modern to jazz-rock, rock-jazz, blues and R&B – the contemporary music festival was sired by George Wein.
As Kahn affirms, Wein “swayed generations of festival producers and impresarios – from groundbreaking one-offs like the Monterey International Pop Festival in 1967 and Woodstock in 1969, all the way up to today’s genre-blending annuals like Coachella and Bonnaroo, [and in Europe] Glastonbury and Montreux.”
Intrinsically and inextricably linked at the hip were Miles Davis and George Wein, from the first conversation Wein recalls with the trumpeter in 1952, at a little club in New Haven, “when [Miles] was playing with a band that Symphony Sid had put together with Percy Heath and Milt Jackson,” Wein clearly recalls.
Twenty years or so later, he memorably amped up the 1969 NJF program with Led Zeppelin, the Mothers of Invention, Jeff Beck, Sly and the Family Stone, and others.
Miles was just six weeks away from recording the principal sessions for his all-time game-changing “Bitches Brew,”and his live band had replaced Hancock, Carter and Williams with Chick Corea, Dave Holland, and Jack DeJohnette.
With more electronic instrumentation, and broader drum patterns, Miles was quickly moving beyond the very jazz styles he had helped to create and popularize.
Into the ’70s, rock and R&B-rooted musicians like guitarists Pete Cosey and Reggie Lucas, electric bassist Michael Henderson, Mtume on percussion, plus jazz drummer Al Foster and a rotating cast of saxophonists came aboard. As Miles’ scope expanded, Wein’s festival became a week-long affair in Manhattan, then across Europe.
But to eyewitnesses, Newport Jazz Festival 1969 was ground zero, the big bang that informed “Bitches Brew.” “I remember that Miles always came to Newport and left as fast as he could,” Wein told Kahn.
“In ’66, he came up in a boat and got to the stage in time to play, and was back on the boat and got the hell out of there. In ’69, he stayed from the first day to the last, standing right by my shoulder… He watched every group and watched the response of the audience, who got the most applause, what music they were playing. He was studying. And that affected all the last years of his career.”
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. was produced for release by the multiple Grammy Award®-winning trio of Richard Seidel and Michael Cuscuna; with co-producer Steve Berkowitz. Executive producers for the Miles Davis Estate were Cheryl Davis, Erin Davis and Vince Wilburn, Jr. The music was mastered by Mark Wilder and Maria Triana at Battery Studios in New York City. All original concerts were produced by George Wein.
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. (Columbia/Legacy Recordings 88875081952)(All tracks previously unreleased, except where otherwise indicated)
CD 1: (July 17, 1955: Newport Jazz Festival, Newport, RI)
Selections: 1. Spoken Introductions by Duke Ellington and Gerry Mulligan • 2. Hackensack • 3. ’Round Midnight (previously released) • 4. Now’s The Time •
(All-Star Jam Session: Miles Davis, trumpet; Zoot Sims, tenor saxophone; Gerry Mulligan, baritone saxophone; Thelonious Monk, piano; Percy Heath, bass; Connie Kay, drums.)
(July 3, 1958: Newport Jazz Festival, Newport, RI)
Selections: 5. Spoken Introduction by Willis Conover (previously released) • 6. Ah-Leu-Cha (previously released) • 7. Straight, No Chaser (previously released) • 8. Fran-Dance (previously released) • 9. Two Bass Hit (previously released) • 10. Bye Bye Blackbird (previously released) • 11. The Theme (previously released) .
(Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane, tenor saxophone; Bill Evans, piano; Paul Chambers, bass; Jimmy Cobb, drums.)
CD 2: (July 4, 1966: Newport Jazz Festival, Newport, RI)
Selections: 1. Gingerbread Boy • 2. All Blues • 3. Stella By Starlight • 4. R.J. • 5. Seven Steps To Heaven • 6. The Theme / Closing Announcement by Leonard Feather.
(July 2, 1967: Newport Jazz Festival, Newport, RI)
Selections: 7. Spoken Introduction by Del Shields • 8. Gingerbread Boy • 9. Footprints • 10. ’Round Midnight • 11. So What • 12. The Theme/Closing Announcement by Del Shields
(1966 & 1967: Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums.)
CD 3: (July 5, 1969: Newport Jazz Festival, Newport, RI)
Selections: 1. Miles Runs The Voodoo Down (previously released) • 2. Sanctuary (previously released) • 3. It’s About That Time / The Theme (previously released) .
(Miles Davis, trumpet; Chick Corea, electric piano; Dave Holland, bass; Jack DeJohnette, drums.)
(November 1, 1973: Newport Jazz Festival In Europe, Berlin)
Selections: 4. Spoken Introduction by Ronnie Scott/Band Warming Up • 5. Turnaroundphrase • 6. Tune In 5 • 7. Ife • 8. Untitled Original • 9. Tune In 5/Closing Announcement by Ronnie Scott
(Miles Davis, trumpet, organ; Dave Liebman, soprano saxophone, tenor saxophone, flute; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, electric bass; Al Foster, drums; James Mtume Forman, percussion.)
(July 1, 1975: Newport Jazz Festival – NY, Avery Fisher Hall)
Selection: 10. Mtume.
(Miles Davis, trumpet, organ; Sam Morrison, tenor saxophone; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, electric bass; Al Foster, drums; James Mtume Forman, percussion.)
CD 4: (October 22, 1971 : Newport Jazz Festival In Europe, Neue Stadthalle, Dietikon, Switzerland)
Selections: 1. Directions • 2. What I Say • 3. Sanctuary • 4. It’s About That Time • 5. Bitches Brew • 6. Funky Tonk • 7. Sanctuary.
(Miles Davis, trumpet; Gary Bartz, soprano saxophone, alto saxophone; Keith Jarrett, electric piano, organ; Michael Henderson, electric bass; Ndugu Leon Chancler, drums; Don Alias, percussion; James Mtume Forman, percussion.)
THE REAL: Ralph Tresvant & Johnny Gill Drop In and Tease a New Edition Reunion!
*On Monday, Nov. 30, The Real welcomes friend to the show, Johnny Gill, who brings along former New Edition bandmate, Ralph Tresvant, as they tease a reunion of the group and a possible tour with fellow Boston-area boyband, New Kids on the Block! Ralph also talks about his appearance on the series A Closer Look on UMC and how the classic song “Candy Girl” had to be changed because of him.
And with the holidays quickly approaching, co-host Loni Love already has her eye on a special gift for her boyfriend James that will help him take of that extra quarantine weight!
Johnny Gill & Ralph Tresvant Tease a New Edition Reunion and Tour With Another Boston Boy Band!
New Edition Had to Change “Candy Girl” Because of Ralph Tresvant
Johnny Gill & Ralph Tresvant Tease a New Edition Reunion and Tour With Another Boston Boy Band!
Garcelle Beauvais: The last time we saw the entire group together was in 2017 when New Edition received a star on The Walk of Fame. Wil there be another reunion soon? We need you guys back! Will there be a reunion? Let us know!
Ralph Tresvant: We’re in talks. Everyone is talkin’.
Johnny Gill: Well, you know, it’s not even gonna be a reunion. It’s– it’s just– we’re happy to say that, uh, we’ve done 37 years and we’ve always had our issues and battles. Everyone knows. If you’re siblings and have friends, and we go through ups and downs. But, God has kept us here for over 30-something plus years, and that’s how we’ve been able to get through the process of doing what we do. Yes, there will absolutely be a New Edition– it won’t be a reunion because it’s all six of us coming back strong. But, it’s gonna be as it has always been, it’s gonna be New Edition. And, um, we’re ready to rock. Just lookin’ at some things and we might– you’re probably gonna hear from us sooner than later. Very soon. Hopefully.
Garcelle: Oh! That’s some good news! We’ll take you however we can get you.
Garcelle: Johnny, you say that one day we might even see New Edition on tour with another group of guys from Boston. I know who I’m thinking of. Do tell.
Johnny: New Kids on the Block. Let me tell you, we love those guys and Cheese, his name is Donnie Wahlberg, but that’s my twin. We call each other “twins”. We’ve all been talkin’ for years about trying to get together to do something and maybe tour together. And I think that’s gonna happen at some point, so…
Adrienne Houghton: So dope.
Johnny: We’ve been really pushing that and hopin’ at some point we’re gonna pull it together for a New Edition and New Kids… I think people would love that.
About THE REAL
THE REAL is a live daily, one-hour, two-time NAACP Image Award-winning and Emmy®-nominated talk show now in its seventh season on Fox Television Stations and in national syndication (check local listings), with a rebroadcast on cable network Bounce. The bold, diverse and outspoken hosts, Garcelle Beauvais and Emmy® Award-winners Adrienne Houghton, Loni Love and Jeannie Mai, all frankly say what women are actually thinking. Their unique perspectives are brought to life through candid conversations about their personal lives, current events, beauty, fashion and relationships (nothing is off limits). Unlike other talk shows, THE REAL hosts are admittedly a “work in progress,” and fearlessly invite viewers to reflect on their own lives and opinions. Fresh points of view, youthful energy and passion have made THE REAL a platform for multicultural women. Produced by Telepictures Productions and distributed by Warner Bros. Domestic Television Distribution, THE REAL is led by Executive Producer, Rachel Miskowiec (Good Morning America, Katie, The Tyra Banks Show, Judge Hatchett, The Ricki Lake Show) and Co-Executive Producer Tenia Watson (Judge Mathis, Lauren Lake’s Paternity Court, WGN-TV Morning News, Just Keke, The Test) and shot in Los Angeles, California.
Drake Says 2021 Grammys Nominations Shows ‘Disconnect Between Impactful Music’
*Drake has chimed in on the outcry over the 2021 Grammy nominations after The Weeknd called out the Recording Academy for being “corrupt.”
The lineup of 2021 Grammy nominees was revealed last week, and The Weeknd received zero nominations, even though, as TMZ points out, his single, “Blinding Lights,” topped the charts and his album, “After Hours,” hit to #1.
The Weeknd responded to the diss in a tweet hours after the nominees for the 63rd Grammy Awards were announced on Tuesday.
“The Grammys remain corrupt,” he wrote. “You owe me, my fans and the industry transparency…”
The Grammys remain corrupt. You owe me, my fans and the industry transparency…
— The Weeknd (@theweeknd) November 25, 2020
Drake also made time to speak out about how the annual music awarda show is having a “disconnect” from recognizing “impactful music.”
“I think we should stop allowing ourselves to be shocked every year by the disconnect between impactful music and these awards and just accept that what once was the highest form of recognition may no longer matter to the artists that exist now and the ones that come after,” Drake wrote on his Instagram story.
Drake has won four Grammys, but even he dissed the ceremoney onstage at the 2019 show.
“It’s like a relative you keep expecting to fix up but they just can’t change their ways,” continued Drake. “The other day I said @theweeknd was a lock for either album or song of the year along with countless other reasonable assumptions and it just never goes that way.”
Drake added that now is “a great time” for someone to “start something new that we can build up over time and pass on to the generations to come.”
Meanwhile, TMZ reports that The Weeknd’s Grammy snub may have to due with him headlining next year’s Super Bowl, but Harvey Mason Jr., Recording Academy Chair and Interim President/CEO, tells PEOPLE that’s not the case.
In a statement to the publication, he said “We understand that The Weeknd is disappointed at not being nominated,” Mason Jr. says. “I was surprised and can empathize with what he’s feeling. His music this year was excellent, and his contributions to the music community and broader world are worthy of everyone’s admiration.”
According to TMZ’s report, Grammy officials gave The Weeknd an ultimatum between the two events, and after heated negotiations, they came to an agreement.
“We were thrilled when we found out he would be performing at the upcoming Super Bowl and we would have loved to have him also perform on the GRAMMY stage the weekend before,” Mason Jr. adds in his statement. “Unfortunately, every year, there are fewer nominations than the number of deserving artists. But as the only peer-voted music award, we will continue to recognize and celebrate excellence in music while shining a light on the many amazing artists that make up our global community.”
“To be clear, voting in all categories ended well before The Weeknd’s performance at the Super Bowl was announced, so in no way could it have affected the nomination process. All GRAMMY nominees are recognized by the voting body for their excellence, and we congratulate them all,” the statement continues.
Lifetime Sets Premiere Date for Wendy Williams Biopic
*Lifetime’s biopic on Wendy Williams is set to air in January.
We previously reported, Ciera Payton has been cast to portray the talk show host while Morocco Omari will portray Williams’ ex-husband Kevin Hunter.
The TV host is teaming with super-producer Will Packer for the project, which will chronicle her early days in radio up to her split from her husband and business partner. Wendy and Kevin called it quits after he knocked up his mistress Sharina Hudson.
The biopic is about “her scrappy upstart days in urban radio to the success of her own syndicated talk show,” a release said, via Page Six.
Here’s more via TMZ:
Lifetime sources tell TMZ … the biopic spans her life from ages 10 to 55, covering super intimate topics like her coke habit, sex romps, fat shaming from her family and a never-before-told story of date rape at the hands of a chart-topping artist.
Also on the table, according to our sources … her experiences with racism and sexism in Hollywood, details from her marriage to Kevin Hunter as well as her divorce and her relationship with Mo’Nique.
The official press release claims: “The authorized project provides a revealing look at Wendy’s journey, from her scrappy upstart days in urban radio to the success of her own syndicated talk show.”
“Wendy Williams: The Movie” premieres Saturday, Jan. 30 at 8 pm ET/PT, followed by the documentary The Wendy Williams Story… What a Mess! airing at 10 pm.
Urban Hollywood reports that Lifetime will also air the new documentary, “Whitney & Bobbi,” about the late Whitney Houston and her daughter Bobbi Kristina Brown, who died at age 22 in 2015.
“Whitney & Bobbi” premieres on Saturday, Feb. 6 at 10 pm ET/PT.
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