I know it’s probably plastered all over your calendar already, but just in case you didn’t know, this is Jazz Week at Amoeba Music Hollywood. This means that, in addition to our normal, totally tubular jazz selection, we’ve squeezed in some additional, choice inventory, plus we’re hosting jazz-spinning DJ’s and such. I think I saw a colorful banner with the word “JAZZ” in bold letters somewhere, too. I mean, people – come with your party hats on!
The back room of Amoeba Music Hollywood is what we call the “jazz room”, though it hosts many other genres of music*, one of which is the Soundtrack section, where I’m most oft found. Some well-meaning employees once tried to get people to nickname the room “jazzical” for the large section of classical music that frames the opposite side from jazz, but it never stuck, partially because people were so accustomed to saying “jazz room” and partially, I’m assuming, because saying “jazzical” makes you feel like an effeminate fat kid, which isn’t a fresh sort of feeling at all.
“Can I have some more toffee and McMuffins? They’re jazzical!”
The 1959 Marcel Camus directed film Black Orpheus (Orfeu Negro in Portuguese) is celebrating its fiftieth anniversary with a special screening on Saturday night (Feb 14th) at the Culver Plaza Theaters as part of the ongoing Pan African Film Festival which Amoeba has been promoting. If you can, you should attend this screening. I have already seen the film about a dozen times, but never on the big screen where it is meant to be seen. What I love most about Black Orpheus, even on the small screen, is the music, which is a seemingly never ending percussion based track that plays throughout the entire film as everyone moves to its rhythm. It is like one long dance.
Beautifully shot, it is a love story based on the play Orfeu da Conceição by Vinicius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice only set in (then contemporary) late 1950's Rio de Janeiro during the Carnaval festivities. If it were not for this film the whole Bossa nova (which is Portuguese for "new trend") movement would not have taken off.
The film influenced many people in the US upon its release and in subsequent years. One of these was longtime jazz musician and Bay Area jazz radio DJ Dick Conte who, as a jazz piano player/keyboardist, has long fronted his own trio and as a radio DJ has been on such Bay Area stations as legendary jazz station KJAZ where he started his radio DJ career in 1962 and worked on-and-off until 1983, KMPX, KSFO, KKCY, KKSF (where he worked for over 20 years until last month and where he hosted the Sunday night jazz show that included the popular feature "A Taste Of Brazil"), and KCSM 91.1FM where he hosts the Saturday afternoon jazz program from 2-6PM.