Showing posts with label Buddy Rich. Show all posts
Showing posts with label Buddy Rich. Show all posts

June 28, 2026

Mel Brooks ~ Man of Many Dreams

 ~       
     
     
     
     
     
     
     
     
     
     
     
     
     
photo: HBO 
      
 
Today is the birthday of American actor, filmmaker, comedian, songwriter, and playwright Melvin James Brooks (né Kaminsky) better known as just plain Mel Brooks. But there is nothing plain about this guy! He has a career spanning over seven decades, he is known as a writer and director of a variety of successful broad farces and parodies. A recipient of numerous accolades, he is one of 28 entertainers to win the EGOT, which includes an Emmy, a Grammy, an Oscar, and a Tony. He received a Kennedy Center Honor in 2009, a Hollywood Walk of Fame star in 2010, the AFI Life Achievement Award in 2013, a British Film Institute Fellowship in 2015, a National Medal of Arts in 2016, a BAFTA Fellowship in 2017, and an Honorary Academy Award in 2024.     
 
Brooks was born on a tenement kitchen table on June 28, 1926, in Brownsville, Brooklyn to Katie (née Brookman) and Max Kaminsky. He grew up in Williamsburg, Brooklyn. His father's family were German Jews from Danzig (now Gdańsk, Poland). His mother was a Russian Jewish immigrant from Kiev, in the Pale of Settlement of the Russian Empire (now Ukraine). His father died of tuberculosis of the kidney at 34 when Brooks was two years old. He has said of his father's death, "There's an outrage there. I may be angry at God, or at the world, for that. And I'm sure a lot of my comedy is based on anger and hostility. Growing up in Williamsburg, I learned to clothe it in comedy to spare myself problems—like a punch in the face."            
 
He was a small, sickly boy, who often was bullied and teased by his classmates because of his size. At age nine, he saw Anything Goes with William Gaxton, Ethel Merman, and Victor Moore at the Alvin Theater. After the show, he told his uncle that he was not going to work in the garment district like everyone else, but instead wanted to go into show business.          
 
Brooks studied drums under jazz musician Buddy Rich, who had also grown up in Williamsburg and earned money as a musician from age 14. During his teens, he changed his name to Melvin Brooks, used his mother's maiden name Brookman, after being confused with trumpeter Max Kaminsky.     
 
In early 1944 in his senior year in high school, Brooks was recruited to take the Army General Classification Test, a Stanford–Binet-type IQ test. He received high scores and was sent to the Army Specialized Training Program at the Virginia Military Institute to be taught electrical engineering, horse riding, and saber fighting. In 1944, Brooks was drafted into the US Army. Twelve weeks later, when he turned 18, he officially joined the Army at Fort DixNew Jersey, induction center, and was sent to the Field Artillery Replacement Training Center at Fort Sill, Oklahoma, for basic and radio operator training. In December 1944, Brooks was transferred to the 1104th Engineer Combat Battalion as a combat engineer, participating in the Battle of the Bulge. Of his experience there, Brooks noted: 
"Along the roadside, you'd see bodies wrapped up in mattress covers and stacked in a ditch, and those would be Americans, that could be me. I sang all the time ... I never wanted to think about it ... Death is the enemy of everyone, and even though you hate Nazis, death is more of an enemy than a German soldier."   
Stationed in Saarbrücken and Baumholder, the battalion was responsible for clearing booby-trapped buildings and defusing land mines as the Allies advanced into Nazi Germany. Brooks was tasked with land-mine location; defusing was done by a specialist. Brooks has stated that when he heard Germans singing over loudspeakers, he responded by singing the American-Jewish singer Al Jolson hit "Toot, Toot, Tootsie (Goo' Bye!)" into a bullhorn.        
 
After the war, Brooks's mother secured him a job as a clerk at the Brooklyn Navy Yard, but Brooks "got into a taxi and ordered the driver to take him to the Catskills", where he started working in various Borscht Belt resorts and nightclubs in the Catskill Mountains as a drummer and pianist.  
       
In 1959, Brooks and Carl Reiner improvised and eventually developed the idea of the 2000-year-old man who had witnessed the crucifixion of Jesus Christ. They began performing the 2000 Year Old Man act on The Steve Allen Show. Their performances led to the release of the comedy album 2000 Years with Carl Reiner and Mel Brooks that sold over a million copies in 1961.[ It eventually became a comedy record album which ended up in my collection (link below).      
       
Brooks was involved in the creation of the Broadway musical All American, which debuted on Broadway in 1962. He wrote the play with lyrics by Lee Adams and music by Charles Strouse. It starred Ray Bolger as a southern science professor at a large university. During a press conference for All American, a reporter asked, "What are you going to do next?" and Brooks replied, "Springtime for Hitler," perhaps riffing on Springtime for Henry. For several years, Brooks toyed with a bizarre and unconventional idea about a musical comedy of Adolf Hitler. He explored the idea as a novel and a play before finally writing a script. He eventually found two producers to fund it, Joseph E. Levine and Sidney Glazier, and made his first feature film, The Producers (1968). The Producers was so brazen in its satire that major studios would not touch it, nor would many exhibitors. Brooks finally found an independent distributor who released it as an art film, a specialized attraction. At the 41st Academy Awards, Brooks won the Academy Award for Best Original Screenplay for the film over fellow writers Stanley Kubrick and John CassavetesThe Producers became a smash underground hit, first on the nationwide college circuit, then in revivals and on home video. It premiered to a limited audience in Pittsburgh, Pennsylvania, on November 22, 1967, before achieving a wide release in 1968.   
 
Brooks, along with his collaborator Thomas Meehan, later adapted it into a musical, which was hugely successful on Broadway and received an unprecedented 12 Tony awards. In 2000, Roger Ebert included The Producers in his canon of Great Movies, and remembered being in an elevator with Brooks and Anne Bancroft shortly after the movie was released: "A woman got on the elevator, recognized him and said, 'I have to tell you, Mr. Brooks, that your movie is vulgar.' Brooks smiled benevolently. 'Lady', he said, 'it rose below vulgarity.'"        
        
 
 
The Producers - 1968 
 
 
Viewfinder links:     
       
Anne Bancroft      
Ray Bolger       
Adolf Hitler         
Al Jolson       
Max Kaminsky        
Ethel Merman           
Buddy Rich        
Charles Strouse        
 
 
     
Net links:      
 
 
 
 
 
 
YouTubtre links:      
    
The 2000 Year Old Man 1967           
The 2000 Year Old Man album (11 mins., 46 secs.)            
Al Jolson ~ Toot, Toot, Tootsie (Goo' Bye!)      

 
 
        

















Buddy Rich articles/mentions

 ~        
      
     
     
     
      
      
     
     
     
     
     
     
Buddy Rich - 1947     
photo by William P. Gottlieb      
     
     

     
mentions:     
  
Mel Brooks ~ Man of Many Dreams           
     
     
     
     
 
 
 
 
 
 

August 12, 2017

Norman Granz ~ Jazz at the Philharmonic series

~   


The historic Jazz at the Philharmonic (JATP) concert series started by Verve impresario Norman Granz debuted at the Philharmonic Auditorium, Los Angeles, California on July 2, 1944. It was a star-studded affair, featuring legends such as Buddy Rich, Lester Young, Nat 'King' Cole, Illinois Jacquet, Les Paul, J.J. Johnson, and others. The fascinating thing about the recordings from this show is they serve as an excellent document of the bridge period between the late Swing era and the dawn of Bebop.    
   
    
  
     
   
Norman Granz - July 2, 1944   
holding 'Jazz at the Philharmonic Volume 1' record        
photo by Gjon Mili  



Granz organised desegregated jam sessions at the Trouville Club in Los Angeles, which he later expanded when he staged a memorable concert at the Philharmonic Auditorium in Los Angeles on Sunday, July 2, 1944, under the heading of "Jazz at the Philharmonic".    

The title of the concert, "A Jazz Concert at the Philharmonic Auditorium", had been shortened by the printer of the advertising supplements to "Jazz at the Philharmonic". Only one copy of the very first concert program is known to exist. Granz had organised the first Jazz at the Philharmonic concert with about $300 of borrowed money.          

Later known as JATP, the ever-changing group recorded and toured extensively, with Granz producing some of the first live jam session recordings to be distributed to a wide market.        

After several JATP concerts in Los Angeles in 1944 and 1945, Granz began producing JATP concert tours, from late fall of 1945 to 1957 in USA and Canada, and from 1952 in Europe. They featured swing and bop musicians and were among the first high-profile performances to feature racially integrated bands. Granz actually cancelled some bookings rather than have the musicians perform for segregated audiences. He recorded many of the JATP concerts, and from 1945 to 1947 sold/leased the recordings to Asch/Disc/Stinson Records (the labels of record producer, Moses Asch).      

in 1948 Granz signed an agreement with Mercury Records for the promotion and the distribution of the JATP recordings and other recordings. After the agreement expired in 1953 he issued the JATP recordings and other recordings on Clef Records (founded 1946) and Norgran Records (founded 1953). Down Home Records was intended for traditional jazz works. Jazz at the Philharmonic ceased touring the United States and Canada, after the JATP concerts in the fall of 1957, apart from a North American Tour in 1967.   
 
          
Viewfinder link:              
            
Norman Granz articles/mentions         
          
Net links:              
            
NPR ~ Jazz Genius Behind The Scenes      
            The Man Who Used Jazz For Justice      
Jazz Times ~ Ella Fitzgerald: She Was His Star  
New York Times obit        
The Guardian obit          
          
YouTube links:              
            
Norman Granz ~ jazz at the Philharmonic series          
          
          
         
          
Styrous® ~ Saturday, August 12, 2017            
           








         
           
            
















May 20, 2017

Verve Records ~ the inner sleeve & Norman Granz

Verve Records inner sleeve
photo by Styrous®

Norman Granz created Verve to produce new recordings by Ella Fitzgerald, whom he managed; the first album the label released was Ella Fitzgerald Sings the Cole Porter Song Book. The catalog grew throughout the 1950s and 1960s to include dozens of jazz greats. Granz was a fundamental figure in American jazz, especially from about 1947 to 1960. He was also the founder of Clef, Norgran, Down Home and Pablo.      



Verve Records inner sleeve detail
detail photo by Styrous®



Verve Records inner sleeve detail
detail photo by Styrous®



In the segregated society of the 1940s, Granz insisted on equal pay and accommodation for white and black musicians. He refused to take his hugely popular concerts to places which were segregated, even if he had to cancel concerts, thereby sacrificing considerable sums of money.    

Granz opposed racism and fought many battles for his artists, many of whom were black. In 1955, in Houston, Texas, he removed signs that designated "White" and "Negro" seating areas in the auditorium where two concerts were to be performed by Ella Fitzgerald and Dizzy Gillespie. Between the two shows Fitzgerald and Gillespie were playing cards in the dressing room when they were arrested by local police. After some negotiations, the artists were allowed to perform the second show and later were formally released. Granz nevertheless insisted on fighting the charges, which cost him a $2,000 fine.

Oscar Peterson recounted how Granz once insisted that white cabdrivers take his black artists as customers while a policeman pointed a loaded pistol at his stomach. Granz also was among the first to pay white and black artists the same salary and to give them equal treatment even in minor details, such as dressing rooms.

Granz also spearheaded the fight to desegregate the hotels and casinos in Las Vegas, arguing that it was unfair that black artists could perform on the stages, but could not stay or gamble at the hotels, or even enter through the front doors.        



Verve Records inner sleeve
photo by Styrous®




In 1956 Ella Fitzgerald joined the Norman Granz Verve label. Granz had been her manager for some time, and unified his activities under the common label of Verve Records. Granz became Fitzgerald's manager, and remained so until the end of her career. Fitzgerald's memorable series of eight Songbooks, together with the duet series (notably Armstrong-Peterson, Fitzgerald-Basie, Fitzgerald-Pass and Getz-Peterson) achieved wide popularity and brought acclaim to the label and to the artists. Granz was also the manager of Oscar Peterson, another lifelong friend.    

     
Verve Records inner sleeve detail
detail photo by Styrous®


Granz was born on August 6, 1918, in Los Angeles, California, the son of Jewish immigrants from Tiraspol, in Moldova. Tiraspol was founded in 1792. The toponym consists of the two ancient Greek words: Τύρας, Tyras, the Ancient name for the Dniester River, and polis, i.e., a city (state). Tyras (Τύρας), also spelled Tiras, was a colony of the Greek city Miletus, probably founded about 600 BC, situated some 10 kilometres (6 miles) from the mouth of the Tiras River (Dniester). In the 2nd century BC, it fell under the dominion of indigenous kings whose names appear on its coins. It was destroyed by the Thracian Getae about 50 BC.      



Norman Granz, ca. May 1947
Photo by William P. Gottlieb


      
Granz was acknowledged as "the most successful impresario in the history of jazz". In December of 1960, he sold Verve Records to Metro-Goldwyn-Mayer. He founded his last label, Pablo Records, in 1973; in 1987, he sold it to Fantasy Records.

Granz died on November 22, 2001 , in Geneva, Switzerland. He was 83 years old.      


          
Viewfinder links:
      
Louis Armstrong           
Count Basie       
Roy Eldridge         
Herb Ellis         
Ella Fitzgerald          
Stan Getz         
Dizzy Gillespie                 
Billie Holiday         
Gil Mellé ‎– The Andromeda Strain          
Anita O'Day        
Charlie Parker            
Joe Pass        
Oscar Peterson          
Cole Porter       
Art Tatum             
Lester Young       
          
Net links:
     
New York Times obit       
NPR obit      
Jazz Times ~ Goodbye, My Friend           
udiscovermusic ~ The Man Who Made Jazz, Black AND White    
PopMatters ~ The Man Who Used Jazz for Justice       
     
       
   
''You sit where I sit you. 
You don’t want to sit next to a black, 
here’s your money back.'' 
                                                       ~ Norman Granz            



Styrous® ~ Saturday, May 20, 2017