{"id":5631,"date":"2014-04-02T00:05:14","date_gmt":"2014-04-02T07:05:14","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5631"},"modified":"2014-04-02T07:36:52","modified_gmt":"2014-04-02T14:36:52","slug":"other-places-avakians-archive-coltranes-horn-shaws-story","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/04\/other-places-avakians-archive-coltranes-horn-shaws-story\/","title":{"rendered":"Other Places: Avakian\u00e2\u20ac\u2122s Archive, Coltrane\u00e2\u20ac\u2122s Horn, Shaw\u00e2\u20ac\u2122s Story, A Call For Help"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;tE2gU8J8wmI7lpnV614939WLGp6QhH2G&#8221;]<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/04\/george_avakian.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/04\/george_avakian.jpg\" alt=\"george_avakian\" width=\"135\" height=\"207\" class=\"alignleft size-full wp-image-5632\" \/><\/a>New York City\u00e2\u20ac\u2122s Library for the Performing Arts announces that it has received the archives of George Avakian, who supervised some of the most influential jazz recordings of the past 70 years. At first as a student working part time for Columbia Records and then as an executive at Columbia and, later, RCA, Avakian was responsible for recordings by Louis Armstrong, Duke Ellington, Miles Davis and Dave Brubeck, among dozens of other artists. The library will catalog his personal papers as well as unissued recordings. It will also have the archives of Mrs. Avakian, the prominent classical violinist Anahid Ajemian. Avakian celebrated his 95th birthday on March 15. For details, <a href=\"http:\/\/artsbeat.blogs.nytimes.com\/2014\/03\/31\/columbia-records-executives-archive-headed-to-new-york-public-library\/\"target=\"_blank\">see this story<\/a> in <em>The New York Times<\/em>. <\/p>\n<div style=\"text-align: center;\"><strong>Coltrane&#8217;s Horn<\/strong><\/iframe><\/div>\n<p>In another important bequest, saxophonist Ravi Coltrane has presented his father\u00e2\u20ac\u2122s tenor saxophone to the Smithsonian Institution\u00e2\u20ac\u2122s National Museum of American National History. It is the instrument that the senior Coltrane most likely used when his quartet recorded <em>A Love Supreme<\/em> in 1965. The album not only became one of Coltrane\u00e2\u20ac\u2122s biggest sellers but also one of the most potent musical statements of the post bebop era, influencing countless musicians to take new directions. In another gift to the museum, photographer Chuck Stewart donated more than two dozen images he made of Coltrane, some at the <em>A Love Supreme<\/em> session, others never published. You will find a story about Coltrane\u00e2\u20ac\u2122s saxophone <a href=\"http:\/\/www.smithsonianmag.com\/smithsonian-institution\/saxophone-supreme-john-coltrane-legendary-instrument-joins-collections-american-history-museum-180950274\/?no-ist\"target=\"_blank\">here<\/a>, and one about the Stewart pictures <a href=\"http:\/\/www.smithsonianmag.com\/smithsonian-institution\/new-photos-john-coltrane-rediscovered-50-years-after-they-were-shot-180950260\/\"target=\"_blank\">here<\/a>, both on the Smithsonian website. Here are the \u00e2\u20ac\u0153Acknowledgement\u00e2\u20ac\u009d section of A Love Supreme and Stewart\u00e2\u20ac\u2122s cover photograph for the album.<\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/fth9UUa1Mfw\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p>\n<div style=\"text-align: center;\"><strong>Shaw&#8217;s Story<\/strong><\/iframe><\/div>\n<p>The poignant muted trumpet on \u00e2\u20ac\u0153Flamingo\u00e2\u20ac\u009d in Charles Mingus\u00e2\u20ac\u2122s 1957 album <a href=\"http:\/\/www.amazon.com\/New-Tijuana-Moods-Charles-Mingus\/dp\/B000003G58\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Tijuana Moods<\/em><\/a> was by Clarence Shaw, a Detroiter whose career derailed for a time, in part because of Mingus. More about Shaw in a moment, but first let\u00e2\u20ac\u2122s listen to his most famous solo.<\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/dPJPX9Xyleg\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>By the time RCA finally released that music in 1962, Shaw had rebuilt his career, altered his first name, moved to Chicago and began recording again. There remains a good deal of mystery surrounding his story, which is nicely told by Thomas Cuniffe on his <em>Jazz History Online<\/em> website. To read it, <a href=\"http:\/\/www.jazzhistoryonline.com\/Gene_Shaw_in_Chicago.html\"target=\"_blank\">go here<\/a>.<\/p>\n<p>\n<div style=\"text-align: center;\"><strong>One Other Thing: This Is Important<\/strong><\/iframe>\n<\/div>\n<p>The survivors across the mountains from us in the little community of Oso are hurting, in<a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/04\/Oso-mudslide-3287936.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/04\/Oso-mudslide-3287936.png\" alt=\"Oso-mudslide-3287936\" width=\"200\" height=\"133\" class=\"alignright size-full wp-image-5635\" \/><\/a> every conceivable way. The physical and emotional devastation caused by that gigantic mudslide last week has them reeling. They are in need of just about everything. Washington state&#8217;s governor, Jay Inslee, is making a plea for help. He says that the best way to provide it is through the American Red Cross. <a href=\"http:\/\/www.redcross.org\/cm\/osomudslide-pub\"target=\"_blanki\">Go here<\/a> to see the governor&#8217;s message&#151;and how you can pitch in. Thank you.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;tE2gU8J8wmI7lpnV614939WLGp6QhH2G&#8221;] New York City\u00e2\u20ac\u2122s Library for the Performing Arts announces that it has received the archives of George Avakian, who supervised some of the most influential jazz recordings of the past 70 years. At first as a student working part time for Columbia Records and then as an executive at Columbia and, later, RCA, [&hellip;]<\/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":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5631","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5631","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5631"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5631\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5631"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5631"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5631"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}