A “Jerry Blavat,” a.k.a. the “Geator with the Heater,” could not be invented today. Or any day, for that matter. In his impressive autobiography, as told to Steve Oskie, “You Only Rock Once,” the legendary Philadelphia broadcaster maintains that “the street” was his “classroom.”

What a street–and what a classroom–it was, as the Geator wisely and instinctively utilized those street smarts to fashion a tremendously successful career as entertainer, radio and television host, music visionary, music industry executive, promoter, talent booker, night club owner, deal maker, hit maker, almost-movie star, friend to celebrities, the rich, the powerful and the famous, from Sammy Davis and Frank Sinatra to Walter Annenberg and Sidney Kimmel.

Though an astounding six decades as an entertainment icon–beginning in the 1950s when he danced on television’s American Bandstand–he never lost his feel for his beloved streets of Philadelphia, and the street kids he called the “yon teens.” Today, those fans are the “beyond teens,” and they still love him and everything he does, whether hosting oldies rock shows at the Kimmel Center or doing fund-raising appeals for Public Broadcasting.

This charismatic, human fireball, seemingly had “it,” whatever “it” was, before he even hit 20. The record industry used Jerry Blavat as its ears in the early days and it became common knowledge that he could pick a hit. As head of the committee that picked the recordings to be played on Bandstand, the Geater was a stickler for ensuring that it was the “original” artists that got played, i.e., Little Richard’s version of “Tutti Frutti” rather than Pat Boone’s sanitized cover of it.

Though all of his years, he would never, ever sacrifice the integrity of the music or his love for it. As a consequence, the color-blind Blavat has kept dozens of artists from the golden days working, and he always tried to make sure they were presented properly. Despite lucrative offers, he would never change his innovative and electric, rapid-fire method of on-air delivery. Indeed, it could be argued that what Blavat did over the decades on WCAM and WHAT radio, to name two, foreshadowed rap as a valid musical form.

It wasn’t all “discophonic” for Jerry, and his unflagging loyalty to his friends–including American Bandstand’s first host, the tragic Bob Horn; and reputed Philadelphia crime boss Angelo Bruno—hurt his career and virtually stopped it in its tracks for a while. Because of his friendship with the Bruno family, law enforcement officials showed the Geator no mercy, and investigated—read, hounded him—for years. Ultimately, he came up clean, and they couldn’t even get him for spitting on the sidewalk.

“You Only Rock Once” is fascinating and honest encyclopedia of the world of entertainment and music in Philadelphia and beyond. My hat is off to the Geator for recognizing the likes of Allen Sussell, Bernie Lowe, Kal Mann, Dave Apple, Artie Singer, Harry Chipitz, Sid Mark and many other figures who contributed so much to the evolution of the entertainment industry.

Blavat has good words for almost everyone—only Mike Douglas and Hy Lit are deservedly not cast in the brightest of lights—but one wishes he would have said more about friends like Sinatra and especially, his close association with Sammy Davis, Jr. I don’t doubt that, in the case of Davis, Blavat continues to adhere to the code of privacy. In a tabloid world where everyone is willing to yak it up for a few bucks, Jerry Blavat proves to be the pleasant exception.

One wouldn’t think Jerry Blavat to be a jazz maven, but it’s important to note that, believe it or not, he discovered jazz guitar icon Pat Martino; gave Wes Montgomery his first shot on national television via the Geator’s “Jerry’s Place” television program; and helped the sagging career egendary saxophonist Charlie Ventura, when Chas returned to Philadelphia after he was forced to leave Las Vegas under veiled circumstances.

I met Ventura during his stint co-hosting “Jerry’s Place” and ultimately formed a musical and personal association with Charlie Ventura, my musical idol, which lasted until Chas’ death in 1992.

If “You Only Rock Once” is ever made into a major motion picture, as it should be, there is only one man who could play the title character: Jerry Blavat. After all, while Bruce Springsteen may be “The Boss,” the Geator with the Heater is the Big Boss. With, naturally, the hot sauce.

Television host, producer and broadcast pioneer Dick Clark has died at the age of 82.

Clark was one of a handful of Philadelphia-born broadcasters and performers who made it to the national stage–Ed MacMahon, of course, was another–and he pretty much stayed there, front and center, until felled by a stroke in 2004.

Those who knew Clark have been unanimous in their praise of him as a human being, almost granting him saintly status. Entertainer Tony Orlando claims that what you saw in Clark’s onstage persona was exactly the way Clark was in real life. Interesting observation. Perhaps Orlando tied too many ribbons around too many old oak trees.

Philadelphia radio host Bob Horn was the creator and first host of Dick Clark’s later claim to fame, television’s “American Bandstand.” Horn, who hosted from 1952 to 1956, was ousted due to a drunk driving and statutory rape charge. Though acquitted from the latter, Horn’s career was over. Clark replaced him as the host of “American Bandstand” in July of 1956. It spent a year as a local program emanating from Philadelphia until it was picked up for national broadcast by ABC in 1957. The program lasted–probably too long–in various guises until 1989.

Clark was in the right place at the right time. Certain powers that be in this country were quite, quite concerned about the newfound popularity of rockers like Elvis, Jerry Lee, Chuck Berry and the like, because, as you know, they were all no-account hop-heads who inspired juvenile delinquency. The world needed more personalities like Pat Boone, for Elvis to have his balls cut off by being railroaded into the army, and for a fresh-faced “rock host” who might somehow but a “safe face” on all this lurid music.

Clark was the guy, and no doubt he was sincere in his passions. Indeed, so honest-looking and fresh-faced was he, that he escaped the entire payola scandal–paying radio guys for airplay–of the late 1950s. Pioneer rock jock Alan Freed had his career ruined by the scandal. Clark simply said he had no knowledge of any artist he had an interest in being involved in such a terrible affair.

Dick Clark’s real contribution to television was as a producer. He was there at the beginning with reality shows, beauty pageants, blooper programs, dozens of game shows, and the legendary New Year’s eve broadcast. None of this was art, nor did it pretend to be. Clarks’s talent was in making money. Lots of it.

Some years back, I had an idea for a reality television show called “The World’s Greatest Drummer.” The weekly series would pit drummers–of all ages–against one another in competition, playing before celeb/drummer judges like Max Weinberg, Charlie Watts, Ringo, etc. Several production companies were interested, but before seriously proceeding, I wanted to take the concept to “the expert.”

While hosting “Bandstand,” Clark had a number of dancers who appeared week after week and ended up with their own followings and fan clubs. One of these vastly popular “regulars” was a West Philly guy named Tommy DeNoble, who eventually had a decent singing career and appeared in films like “Ship of Fools.”

I drummed for Tom way back when, and thought that might help me gain entrance into the offices of “the world’s oldest teenager.” I sent a note to his office, and lo and behold, Dick Clark himself called me on the telephone.

He was more than nice, stressed that he did not use email and responded to letters, etc., via a personal telephone call, inquired about our mutual friend DeNoble, and then addressed the issue of “The World’s Greatest Drummer.” Though he liked the idea, he maintained that because the program was limited to just drums, that the entire concept was just too marginalized to ever reach a wide, general audience. “What would you do as a follow-up?” he asked. “The ‘World’s Greatest Violin Player’?”

He was right and I knew it, and I’ll never forget that he took the time to respond in the manner he did.

Yes, Clark was in the right place at the right time, and that’s great for a start. But he had the vision, strength and determination to succeed, and to succeed for decades in a medium that often spits people out after mere moments.

More importantly, I think Dick Clark really and truly liked television. It showed.

It wasn’t too long ago–April 27, 2010, to be exact– that Ortlieb’s Jazzhaus, among the premier jazz clubs in Philadelphia and in the nation, closed for business after almost 24 years of operation.

What a place it was, and seemingly every local and national player–including such regulars as Shirley Scott, Butch Ballard and Mickey Roker–played at the joint. The Sunday afternoon jam session, under the direction of trumpeter Roger Prieto, was justly legendary.

Say what you want about Peter Souders–who owned, booked and blew tenor sax at the place until new owners took over just four years before the place closed, he kept it going for a long time, and it wasn’t always easy.

Orlieb’s, now to be called “Ortlieb’s Lounge” will be reopening again in Philadelphia shortly, though without much of the jazz that put it on the map. The new owners, “Four Corners Management,” Six nights of the week, Ortlieb’s patrons can see and hear some really innovative entertainment: how about an open mike night, open mike comedy night and a couple of DJs? Wow! I’m getting my tickets now.

As a bow toward tradition, the new space will have a jazz jam under the aegis of drummer Roker and Souders. Unfortunately, the choice of Tuesday was and is an unfortunate and cruel one, and I won’t say who I suspect is at fault.

The Ortlieb’s jazz jam is directly scheduled against Philadelphia’s long-running–how about over 20 years?–jazz session at Center City’s 23rd Street Cafe’. Why would another club want to try to cut in, compete with and attempt to diminish the audience size of a certifiable instituion? Cruelty, perhaps?

Does anyone out there–especially Souders, who knows better–realize that the jazz community is small enough as it is, and that attempting to make the community of audiences and players even small than it already is makes no sense.

Come on, Pete. You’ve got six other days of the week to do this. Shame on you, man.

How many times have you wanted to email the owner or founder of a company directly? Maybe you love them. Maybe you don’t care for them. Maybe you want help in finding a CD or DVD. Maybe you just want to talk. Now you can, and I’m inviting you. My personal email is DrumAlive@aol.com. I founded and I own JazzLegends.com, and I invite you to write about anything at all. In the process of doing necessary little “tweaks,” it seems our “contact” icon is out of order for a brief moment. No matter. DrumAlive@aol.com. That’s where you get me. At any time.

Herman DeJong is really, as they say, “putting on all the pots” on behalf of his fellow statesman, Dutch pianist Peter Beets. DeJong plans a mini-tour of Philadelphia jazz clubs for Beets on June 19th, including The 23rd Street Cafe’, Chris’, and the new Orlieb’s jazz club. No doubt the pianist will be asked to sit-in. Herman has also arranged several, all-important, private get-togethers that will feature Beets.

Accompanying the pianist at the Philadelphia Museum of Art concert on Friday, June 22, are two of the best players anywhere–and I’m certain they’ll provide inspiring backing–bassist Lee Smith and drummer Dan Monaghan. Listed as possible, “surprise” sitters-in are area players Frank McKitty,Geoff Gallante and Alan Lewine.

Peter Beets is a Dutch pianist with an astounding technique and a ferocious sense of swing. Other than Monty Alexander, Beets is one of the few out there–that I know of, anyway–who embodies the joy, spirit and sense of swing of Oscar Peterson. OP’s style, and their were many facets to it, is difficult to grasp and even harder to assimilate. Beets has done it.

Though the award-winning Beets has recorded with players like Jeff Hamilton–not coincidently, perhaps, the one-time drummer for OP and Monty–and Curtis Fuller, and has shared stages with the likes of Chick Corea, he’s pretty much unknown in the states.

Herman DeJong, the Philadelphia-based architect/bassist/concert promoter and good friend of jazz, is helping to bring Beets to the U.S. Specifically, Beets will appear at the Philadelphia Museum of Art on June 22.

At this juncture in Beets’ evolution, he’s combining hard and happy swing with a sincere dose of showmanship, ala the greats like Count, Duke, Krupa, Pops, Peterson and the rare others who were able to appeal to those who may not have liked jazz before or since. Stylistically, it will be interesting to see where Beets goes from here.

Take it from me. Peter Beets’ gig at the Philadelphia Museum of Art on June 22 is going to be “one of those nights.”

My sincerest thanks to our loyal customer base who are beginning to return to the bigger and better and now again online JazzLegends.com. And let this serve as a hearty welcome to new visitors as well. We are working hard to tweak things at the site in terms of organization, streamlining and ease of use, dealing with a non-working link or two, etc.

We’ve also begun adding “new discoveries” for the first time in a while, including some great, 1944 and 1946 from the Krupa band (already posted), a 1966 Newport All-Stars date with a spectacular drummer who all know and some of you love (soon to be posted), and early 1960s DVD concerts from the likes of Buck Clayton and Stan Kenton. Look for some stellar additions to the MP3 collection as well.

Good things are happening in Philadelphia music wise. Those who have long claimed that jazz is dead in Philadelphia need only head over to the venerable 23rd Street Cafe’, where the jam session is mobbed every Tuesday…as it’s been for the past 21 years of Tuesdays. Drummer and session producer “Big Jim” Dofton is doing a superlative job of keeping each and everything together. Believe me, it isn’t easy.

Our friend, pianist/singer Andy Kahn, deservedly, keeps getting busier and busier. He continues with regular recitals at Jacobs Music in center city Philadelphia, has returned to the Hedgerow Theater in Media, will return to The World Cafe’ at the end of April, and is not doing sessions at the city’s popular restaurant, The Prime Rib.

My good associate–bassist Bruce Kamsinky–and I recently took a ride down to that city by the ocean that musicians have long called “Beiruit by the Sea.” Atlantic City, New Jersey, that is. A.C. is the scene of the soon-to-open (with Beyonce’ at the headlining opener) Revel Hotel and Casino. The facility is said to have cost in the two billion dollar ranger. And a half-block away from Revel’s massive lobby? The same, decayed and in-pieces “homes” that have been a part of the inlet’s “urban blight” sector for more than 50 years. All the promises of using casino money to remove this decay? No one seems to know what’s happened, and it absolutely amazes me that allegedly intelligent business people who have managed to build a two billion dollar casino, could fix it so, when a customer looks out his pricey window, the view is nothing less than disgusting…for more than one reason. Whats-a-matter? You don’t have a couple of hundred to tear down a house?

AC needs all the help they can get, and starting with an enviornment that’s clean and safe is a good and long overdue beginning.  The struggling resort has now dropped to number three in the “gaming destinations” rank, and has recently lost another seven or so percentage points in terms of gross revenue.

We all know that this business of entertainment is a young person’s game, but don’t tell that to the likes of Pat Boone, Wayne Newtown, Debbie Reynolds and Frank, Jr., who have announced busy, 2012 schedules.

Feel free to email me directly at DrumAlive@aol.com with suggestions, wants, problems and other info. All good wishes to you and yours for a swingin’ spring, a great holiday season-and beyond.

Keep swingin,
BRUCE KLAUBER

As of today, Monday, January 30th, we are now able to again take orders. While there are a few images and descriptions yet to be filled in, as well as the MP3 store, customers can again order any of our products via PayPal. Remember that we ship all over the world and shipping is free.

Shortly before Christmas, I was startled to find that the JazzLegends.com site was down. Though I’m no tech wizard, I came to understand that the site had grown very, large, especially with the recent addition of our MP3 store, and our server just couldn’t handle it. SInce this whole mess was discovered, our resdient tech genius has been working hard and dilligently to transfer everything over to a capable server. The delay is mainly due to the fact that 350 separate products have to be entered manually.

You’ll currently see that the site is up and is well on the way toward being online 100 percent.

On a personal note, I cannot tell you the catastrophic financial disaster this has caused me. I totally lost what could have been good revenue from the Christmas holiday. I do understand that technology is imperfect that this couldn’t be helped.

In the meantime, all our products are available, and until we’re up 100 percent, I invite you to take the old mail order route and send check, cash or money order–US Funds only–to Bruce Klauber, 7568 Brockton Road, Philadelphia, PA 19151. Be sure to write just what you’d like to order and provide a good mailing address. Shipping remains free worldwide.

One other issue–now solved–needs to be addressed. In late November, I began getting emails that said PayPal was not accepting overseas orders. I suspected that customers may have been entering mailing info incorrectly, but that was not the case. Turns out the PayPal automatically put “blocks” on certain ordering criteria. I believe this may have been related to our server problems.

I cannot tell you how much I appreciate your bearing with me during this certifiable disaster, and hope you’ll avail yourself our mail order option until we’re up again.

Please let all know that we are alive and well and hopefully will continue for years to come.

Bruce Klauber