PROGRESSIVE MUSIC COMPANY

AFRO-AMERICAN MUSIC INSTITUTE CELEBRATES 36 YEARS

BOYS CHOIR AFRICA SHIRTS
 
 
http://www.indiegogo.com/projects/building-today-for-tomorrow/x/267428

 Pain Relief Beyond Belief

                         http://www.komehsaessentials.com/                              

 

PITTSBURGH JAZZ

 

From Blakey to Brown, Como to Costa, Eckstine to Eldridge, Galbraith to Garner, Harris to Hines, Horne to Hyman, Jamal to Jefferson, Kelly to Klook; Mancini to Marmarosa, May to Mitchell, Negri to Nestico, Parlan to Ponder, Reed to Ruther, Strayhorn to Sullivan, Turk to Turrentine, Wade to Williams… the forthcoming publication Treasury of Pittsburgh Jazz Connections by Dr. Nelson Harrison and Dr. Ralph Proctor, Jr. will document the legacy of one of the world’s greatest jazz capitals.

 

Do you want to know who Dizzy Gillespie  idolized? Did you ever wonder who inspired Kenny Clarke and Art Blakey? Who was the pianist that mentored Monk, Bud Powell, Tad Dameron, Elmo Hope, Sarah Vaughan and Mel Torme? Who was Art Tatum’s idol and Nat Cole’s mentor? What musical quartet pioneered the concept adopted later by the Modern Jazz Quartet? Were you ever curious to know who taught saxophone to Stanley Turrentine or who taught piano to Ahmad Jamal? What community music school trained Robert McFerrin, Sr. for his history-making debut with the Metropolitan Opera? What virtually unknown pianist was a significant influence on young John Coltrane, Shirley Scott, McCoy Tyner, Bobby Timmons and Ray Bryant when he moved to Philadelphia from Pittsburgh in the 1940s?  Would you be surprised to know that Erroll Garner attended classes at the Julliard School of Music in New York and was at the top of his class in writing and arranging proficiency?

 

Some answers  can be gleaned from the postings on the Pittsburgh Jazz Network.

 

For almost 100 years the Pittsburgh region has been a metacenter of jazz originality that is second to no other in the history of jazz.  One of the best kept secrets in jazz folklore, the Pittsburgh Jazz Legacy has heretofore remained mythical.  We have dubbed it “the greatest story never told” since it has not been represented in writing before now in such a way as to be accessible to anyone seeking to know more about it.  When it was happening, little did we know how priceless the memories would become when the times were gone.

 

Today jazz is still king in Pittsburgh, with events, performances and activities happening all the time. The Pittsburgh Jazz Network is dedicated to celebrating and showcasing the places, artists and fans that carry on the legacy of Pittsburgh's jazz heritage.

 

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Duke Ellington is first African-American and the first musician to solo on U.S. circulating coin

    MARY LOU WILLIAMS     

            INTERVIEW

       In Her Own Words

Concert Tickets set aside, marked up by artists, managers

This article is taken from the Wall Street Journal.

Concert Tickets Get Set Aside, Marked Up by Artists, Managers

http://online.wsj.com/article/SB123672740386088613.html

By ETHAN SMITH

Less than a minute after tickets for last August's Neil Diamond concerts at New York's Madison Square Garden went on sale, more than 100 seats were available for hundreds of dollars more than their normal face value on premium-ticket site TicketExchange.com. The seller? Neil Diamond.

Ticket reselling -- also known as scalping -- is an estimated $3 billion-a-year business in which professional brokers buy seats with the hope of flipping them to the public at a hefty markup. In the case of the Neil Diamond concerts, however, the source of the higher-priced tickets was the singer, working with Ticketmaster Entertainment Inc., which owns TicketExchange, and concert promoter AEG Live. Ticketmaster's former and current chief executives, one of whom is Mr. Diamond's personal manager, have acknowledged the arrangement, as has a person familiar with AEG Live, which is owned by Denver-based Anschutz Corp. Selling premium-priced tickets on TicketExchange, priced and presented as resales by fans, is a practice used by many other top performers, according to people in the industry.

Joseph Freeman, Ticketmaster's senior vice president for legal affairs, says that the company's "Marketplace" pages only rarely list tickets offered by fans. The vast majority of tickets are sold by the artists and their promoters with the cooperation of Ticketmaster. In fact, he says that for any concert to which Ticketmaster carries so-called platinum seats, the Marketplace sells only artist-sanctioned tickets, not those resold by fans. Though scalping tickets is legal in most states, the spiraling prices for tickets sold in the secondary market are frequently the target of ire from consumers, Congress and artists, all of whom say the practice takes advantage of fans while enriching third-party speculators. Ticketmaster Chief Executive Irving Azoff said in an interview Tuesday that when ticket brokers resell tickets without permission from artists or promoters, it "drives up prices to fans, without putting any money in the pockets of artists or rights holders." But Ticketmaster facilitates the secondary ticket market and profits from it. According to several managers of top artists and Ticketmaster executives, the company routinely offers to list hundreds of the best tickets per concert on one of its two resale Web sites -- and divides the extra revenue, which can amount to more than $2 million on a major tour, with artists and promoters. These platinum seats are sold on Ticketmaster's TicketExchange, which describes itself as a marketplace for "fan-to-fan" transactions, using the slogan "Buy tickets. Sell tickets. It's that simple." In addition to being Ticketmaster's CEO, Mr. Azoff also oversees the company's Front Line Management division, which handles the affairs of more musicians than any other competitor in the U.S. -- and represents Mr. Diamond.

Ticketmaster is in the process of being acquired by concert promoter Live Nation Inc., an all-stock deal that is under intense regulatory scrutiny in part because it could affect competition in the music business, including the secondary ticket market. Secondary ticket sales are viewed by Ticketmaster, concert promoters and artists as one of the biggest -- yet thorniest -- sources for revenue gains. In 2006, Ticketmaster launched TicketExchange in response to pressure put on its profit margins by secondary-ticket sellers such as StubHub. But in doing so, it opened the company to criticism by ticket brokers, fans and politicians, who accuse the ticketing giant of profiteering and obfuscation. Ticketmaster is moving to distance itself from some parts of the secondary ticketing market. It is in the process of hiring an investment bank to try to sell another resale service, TicketsNow, according to people familiar with the matter.
Virtually every major concert tour today involves some official tickets that are priced and sold as if they were offered for resale by fans or brokers, but that are set aside by the artists and promoters, according to a number of people involved in the sales. That includes recent tours by Bon Jovi, Celine Dion and Van Halen, and a current tour starring Billy Joel and Elton John. Spokesmen for Bon Jovi and Ms. Dion had no comment. A spokesman for Van Halen said that the band could not be reached. A booking agent for Messrs. Joel and John did not respond to requests for comment.
Tickets for a March 27 Britney Spears concert at Mellon Arena in Pittsburgh were priced earlier this week at $39.50 to $125 apiece on Ticketmaster.com. But some of those same classes of seats were being offered at the same time through the "TicketExchange Marketplace" for as much as $1,188.60. The link to the Marketplace page was marked, "Browse premium seats plus tickets posted by fans." Ms. Spears' spokeswoman declined to comment.

The ticket listings are offered in small batches, each at a price, such as $1,164.01, that mimics prices set via online auctions. After inquiries from The Wall Street Journal, the "tickets posted by fans" message was removed from the TicketExchange Web site. Prices also fell, narrowing the gap between Ticketmaster and TicketExchange Marketplace. Tickets that do not sell at the inflated platinum prices can also be moved between TicketExchange and Ticketmaster's lower-priced main inventory, without any signal to consumers that the ticket's status has been reduced. Ticket brokers complain that artists sell their own tickets for inflated prices but rarely admit doing so, thus avoiding the appearance of gouging fans. "It's not fair for artists to hide behind Ticketmaster-TicketExchange," said Paul McCann, a broker near Baltimore. Ticketmaster says it is working to clarify the origin of tickets on TicketExchange. "It's cloudy and has to be cleaned up," Mr. Azoff said. Bruce Springsteen recently decried a recent incident in which his fans were directed without his permission from Ticketmaster to TicketsNow.com, which caters to ticket brokers. "As a matter of policy we do not ever release tickets to the secondary ticket market nor do we ever accept payment from them," said his manager, Jon Landau. Ticketmaster has said the incident was a mistake. Ticketmaster says TicketExchange shouldn't be considered scalping.
It says the site's "goal is to give the most passionate fans fair and safe access to the best tickets." In a meeting last May with more than 100 ticket brokers, Ticketmaster's then-chief executive, Sean Moriarty, acknowledged that the ticketing giant had used TicketExchange to sell 160 Neil Diamond tickets over two shows at marked-up prices. "That's a choice up to Neil and management," Mr. Moriarty said. He did not respond to messages left on his cell phone requesting comment. "It's our job to make our clients aware of every opportunity that exists," Mr. Azoff, who is Mr. Diamond's manager, said in an interview last year.

Testifying before the House Judiciary Subcommittee on Courts and Competition Policy last month, Mr. Azoff said he believes the secondary market is currently flawed. "We agree that this model is broken," he told the panel, "and it needs a solution."

Write to Ethan Smith at ethan.smith@wsj.com

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