{"id":259,"date":"2009-10-23T12:05:09","date_gmt":"2009-10-23T16:05:09","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/2009\/10\/soupy_sales_friend_to_jazz\/"},"modified":"2011-04-28T16:33:39","modified_gmt":"2011-04-28T20:33:39","slug":"soupy_sales_friend_to_jazz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/10\/soupy_sales_friend_to_jazz.html","title":{"rendered":"Soupy Sales, 1926-2009, friend to jazz"},"content":{"rendered":"<p>The silliest pie-in-the-face TV comic of the &#8217;50s had trumpeter Clifford Brown with drummer Max Roach on his kiddie show. Soupy Sales loved jazz &#8212; how cool is that?\u00c2\u00a0<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/Soupy%20in%20Sepia.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"Soupy in Sepia.jpg\" src=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/assets_c\/2009\/10\/Soupy in Sepia-thumb-388x400-10914.jpg\" width=\"388\" height=\"400\" class=\"mt-image-none\" style=\"\" \/><\/a><\/p>\n<div>photo courtesy of Craig Marin, <a href=\"http:\/\/www.Flexitoon.com\">www.Flexitoon.com<\/a>\u00c2\u00a0&#8212; more pix there<\/div>\n<p><!--more--><br \/>\n\u00c2\u00a0<br \/>\n<a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\"><\/a><\/p>\n<div><\/div>\n<div>This featured performance was unusual, but of a piece with Soupy&#8217;s musical taste. He appeared in a &#8220;Frankly Jazz&#8221; series episode featuring &#8220;The Martian Bossa Nova&#8221; by trumpeter\u00c2\u00a0Shorty Rogers with Pete Jolly and Mel Lewis, among others; he\u00c2\u00a0entertained at the 2002 <a href=\"http:\/\/www.jazzhouse.org\/library\/index.php3?read=jja12\">Jazz Awards<\/a>. His sons Hunt and Tony are musicians who have worked with David Bowie. Soupy will be missed but also remembered.<\/div>\n<div><\/div>\n<div><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\">howardmandel.com<\/a> <br \/>\n<a href=\"http:\/\/www.feedburner.com\/fb\/a\/emailverifySubmit?feedId=1102712&amp;loc=en_US\" target=\"_blank\">Subscribe by Email <\/a>  |<br \/>\n<a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\">Subscribe by  RSS<\/a> |<br \/>\n<a href=\"http:\/\/twitter.com\/jazzbeyondjazz\" target=\"_blank\">Follow on Twitter <\/a><br \/>\n<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\"> All JBJ posts <\/a> |<br \/>\n<script type=\"text\/javascript\" src=\"http:\/\/w.sharethis.com\/widget\/?tabs=web%2Cpost%2Cemail&amp;charset=utf-8&amp;style=default&amp;publisher=6ed88875-2235-4b29-aaa3-60183b0bcbcc\"><\/script> \n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The silliest pie-in-the-face TV comic of the &#8217;50s had trumpeter Clifford Brown with drummer Max Roach on his kiddie show. Soupy Sales loved jazz &#8212; how cool is that?\u00c2\u00a0 photo courtesy of Craig Marin, www.Flexitoon.com\u00c2\u00a0&#8212; more pix there<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[547,548,546],"class_list":{"0":"post-259","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"tag-clifford-brown","8":"tag-max-roach","9":"tag-soupy-sales","10":"entry"},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-4b","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":42,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2007\/08\/giving_max_roach_the_drummer_s.html","url_meta":{"origin":259,"position":0},"title":"Giving Max Roach, the drummer, some","author":"Howard Mandel","date":"August 16, 2007","format":false,"excerpt":"Drummer Max Roach, (Jan 1, 1924 - Aug. 16, 2007), personified the jazz-beyond-jazz ethos: mastering the complex, nuanced art that preceded him, plunging in to create new work based on his own ideas, never abandoning that path. He was a man of social engagement as well as aesthetic convictions. Roach\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1000,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/08\/music-people-and-context-at-newport-jazz-fest-2012.html","url_meta":{"origin":259,"position":1},"title":"Music, people and context at Newport Jazz Fest 2012","author":"Howard Mandel","date":"August 15, 2012","format":false,"excerpt":"My new CityArts-New York column covers some of what went down at the 2012 Newport Jazz Festival. With three stages running staggered but near-simultaneous performances, there was much too much happening to hear it all (I've been listening to some of what I missed, like Bill Frisell's modern string band\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/08\/yScheinmanandBillFrisellphotocreditLaNitaAdamsIMG_4893-300x200.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":513,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/virtual-charlie-parker-jazz-fest-online-video.html","url_meta":{"origin":259,"position":2},"title":"Virtual Charlie Parker jazz fest (online video)","author":"Howard Mandel","date":"August 27, 2011","format":false,"excerpt":"Fearing Hurricane Irene, New York City has suspended public transportation and cancelled everything -- but not my\u00c2\u00a0\u00c2\u00a0online video Charlie Parker Jazz fest, a humble audio\/video standin for the live sets scheduled but not-to-be in Harlem and the East Village, Saturday and Sunday, Aug 27-28. Monday, Aug. 29 is the 91st\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2089,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2016\/08\/a-great-migration-suite-from-trumpeter-orbert-davis.html","url_meta":{"origin":259,"position":3},"title":"A Great Migration suite from trumpeter Orbert Davis: Audio interview","author":"Howard Mandel","date":"August 23, 2016","format":false,"excerpt":"Orbert Davis -- trumpeter, composer and leader of the Chicago Jazz Philharmonic, has been commissioned by the Jazz Institute of Chicago to write and perform a suite about the Great Migration for the 38th annual free Chicago Jazz Festival.\u00c2\u00a0\"Soul Migration,\" for octet, will be heard Sept 1 at 8 pm\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"imgres","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/08\/imgres.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2268,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/07\/the-jazz-blues-art-box-instant-collection-rare-data-trove.html","url_meta":{"origin":259,"position":4},"title":"The Jazz &#038; Blues Art Box &#8212; instant collection, rare data trove","author":"Howard Mandel","date":"July 28, 2017","format":false,"excerpt":"Two hundred and thirty dvds of concerts and 96 interviews from the International Jazzfestival Bern (Switzerland), 1983 to 2002, 20 yearbooks plus a 344-page large format graphics-rich volume, in a cabinet\u00c2\u00a0on wheels standing almost 4 feet tall, 3 feet wide, 15 inches deep. Released as a one-time-only edition with a\u2026","rel":"","context":"With 2 comments","block_context":{"text":"With 2 comments","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/07\/the-jazz-blues-art-box-instant-collection-rare-data-trove.html#comments"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/07\/artbox-1497067082-4592.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/07\/artbox-1497067082-4592.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/07\/artbox-1497067082-4592.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":390,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/04\/central_brooklyn_jazz_fest_rei.html","url_meta":{"origin":259,"position":5},"title":"Central Brooklyn Jazz Fest reiterates jazz\/race divide","author":"Howard Mandel","date":"April 8, 2011","format":false,"excerpt":"The Central Brooklyn Jazz Festival, during what the Smithsonian Institution promotes as\u00c2\u00a0Jazz Appreciation Month, is a powerful statement of hard core, grass-roots support for the music Congress has ratified as \"a rare and valuable American national treasure.\"\u00c2\u00a0My City Arts column reports on how the fest and other Brooklyn jazz activities,\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"louis and lil.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/assets_c\/2011\/04\/louis%20and%20lil-thumb-140x140-19648.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/259","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=259"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/259\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}