Tuesday, August 27, 2013

Dean Meminger, Knicks Guard

Dean Meminger, Who Helped Knicks to a Title, Dies at 65



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Dean Meminger, a speedy guard and tenacious defender who honed his basketball style in Harlem playgrounds and went on to play for the Knicks’ 1973 N.B.A. title team, was pronounced dead on Friday in a hotel room in Upper Manhattan. He was 65.
John Sotomayor/The New York Times
Dean Meminger scoring for the Knicks in a game in 1973.
The police said that staff members at the Casablanca Hotel, on West 145th Street, discovered Meminger unconscious in his room and that emergency medical personnel pronounced him dead. The cause was under investigation, but the police said there were no signs of trauma.
Meminger had long battled an addiction to cocaine and had acknowledged using drugs as far back as his N.B.A. days, when he was among a glamorous cast of Knicks in the franchise’s glory years. In 2009, he was critically injured in a four-alarm fire in his room in a building in the Bronx.
“They call him Dean the Dream, and he is all of that and more,” Coach Lou Carnesecca said after his St. John’s team was beaten by the Marquette squad led by Meminger in the final of the 1970 National Invitation Tournament at Madison Square Garden. Carnesecca had followed Meminger since he was recruited by Rice High School of Manhattan out of a grammar school basketball tournament.
Al McGuire, Meminger’s coach at Marquette, once said he was “quicker than 11:15 Mass at a seaside resort.”
Meminger, the Knicks’ first-round pick in the 1971 N.B.A. draft, joined a brilliant backcourt led by Walt Frazier, Dick Barnett and Earl Monroe. At 6 feet 1 inch and 175 pounds, he may have seemed overmatched, and he was often a backup. But he was a whirlwind dribbling upcourt, a superb defensive player and a clever ball handler with fine court sense.
His most memorable moments came in Game 7 of the 1973 Eastern Conference finals, when he replaced Monroe in the second quarter, frustrated the hot-shooting Boston Celtics guard Jo Jo White and scored 13 points. After knocking the Celtics out of the playoffs, the Knicks beat the Los Angeles Lakers for the title.
“Dean went out and shut Jo Jo down, and we won that game,” said Phil Jackson, the former Knicks forward and Bulls and Lakers coach. “It was a signature performance in our history.”
Meminger joined other members of the 1973 Knicks team for a ceremony at the Garden on April 5. “There was no one prouder than Dean to be back on the court with his teammates,” Glen Grunwald, the Knicks’ general manager, said in a statement.
A native of Walterboro, S.C., Meminger came to Harlem with his family as a seventh-grader, then starred at Rice and became a dazzling figure at West 135th Street playground games.
“By the time I was 18, I was considered a ballplayer by the other dudes in the park,” he once said. “They were 23, 27, 35 years old, but I could participate. It’s very rugged out here. It’s more physical than the N.B.A.”
Meminger became an all-American guard at Marquette, averaging 18.8 points for three seasons, and was named the most valuable player of the 1970 N.I.T. After three seasons with the Knicks, he played for two with the Atlanta Hawks, then returned to the Knicks in the 1976-77 season. He had a career average of 6.1 points a game.
Meminger coached the New York Stars to the Women’s Professional Basketball League championship in 1980. Two years later he was named coach of the Albany Patroons of the Continental Basketball Association, but Jackson replaced him in midseason.
He was long plagued by drugs. In an interview with The New York Times in 2003, when he was coaching at Manhattanville College in Purchase, N.Y., Meminger said his cocaine use had escalated after he left the N.B.A. He said he had received treatment for addiction but had several relapses, even while working as a drug counselor. But he said he had been drug free since June 2001.
“Once I left basketball I used to medicate that pain, ache, emptiness — at least that was my perception,” he said. “I isolated my family, alienated my kids.”
He told of fathering children with his high school and college sweethearts and said he had not helped raise his son, Dean Jr., a reporter for the cable television station NY1, or his daughter, Maisha Meminger, who received a graduate degree in social work.
“If I wanted to say somebody was my son, Dean is my son,” he said. “Understands what values are, a loyal, family guy. I don’t know where he learned it from.”
*****
An Appraisal

Dean Meminger: The Dream Who Was a Delight to Coach



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What Willis Reed liked to call “Dean’s game” was remarkable not only because the Knicks handed the Celtics their first Game 7 playoff defeat on their home floor. It was also because the great Earl Monroe never got off the bench after Dean Meminger replaced him at the start of the second quarter.
On that date, April 29, 1973, Monroe took a seat and never so much as frowned while watching Meminger ignite the Knicks in a 94-78 victory that pushed them into the N.B.A. finals. Soon after, they won their second and last league title, in five games over the Los Angeles Lakers.
“Dean was my friend,” Monroe said, recalling his so-called benching a couple of years ago. “I was happy for him.”
Meminger was more than Monroe’s friend. He was the teammate Monroe first connected with when he joined the Knicks in 1971 from the enemy Baltimore Bullets.
Meminger, a first-round draft pick from Marquette, noticed Monroe’s uncertainty about where on the Knicks bench to sit before his first game at Madison Square Garden. He made eye contact and gestured for Monroe to sit next to him. The friendship lasted more than 40 years — until Meminger’s troubled life ended Friday when he was found dead at 65 in a New York hotel room.
Meminger’s struggles with drugs and related hardships began during a six-year career N.B.A. career that ended in 1977. A product of Rice High School in Harlem, he was only 6 feet tall, and his long arms and legs made his upper torso look too small for the rest of his body. There was also nothing very artistic about his jump shot, and he often dribbled the ball too high.
But Dean the Dream, as he was known, was a coach’s delight, a defense-minded hustler with impeccable timing and the uncanny ability to maneuver himself into space between much larger men in the paint.
Knicks Coach Red Holzman inserted him into Game 7 to harass the Celtics’ scoring guard, Jo Jo White. With John Havlicek playing with a dislocated right shoulder, Holzman figured that the Celtics would try to maximize White’s jump shooting with perimeter screens. Meminger, he knew, was better at moving laterally than Monroe.
But Meminger did more than limit White to 21 points (10-for-21 shooting from the floor). He was everywhere as the Knicks took control in the second and third quarters, finishing with 13 points, 6 rebounds and 3 assists.
“At that point, even I said, ‘What the heck is this?’ ” Meminger told me in an interview, referring to Holzman’s leaving him in.
Beyond friendship, Monroe’s comfort with Holzman’s decision spoke to a larger generational issue. These days, a superstar’s benching would be developing news as it was happening — with television close-ups, a buzz on Twitter and a multitude of commiserating or angry texts waiting for the player in the locker room on his smartphone.
Newspaper reports on the Knicks’ victory highlighted Meminger’s role but took no issue with Monroe’s sitting out the last three quarters.
In my interview with Meminger, he laughingly recalled that he and Monroe had “hung out all night before that game,” which was played on a Sunday afternoon. “But,” he added, “I won’t give you the gory details.”
Monroe acknowledged that he had done his share of partying with Meminger. “But then you grow up,” he said.
Meminger, sadly, could manage only spells of sobriety after his years as a player. Monroe remained loyal, however. He was godfather to Meminger’s daughter and attended her wedding in 2009. He and his wife, Marita, were never far away when Meminger reached out.
But Monroe has had his own mounting health problems in recent years. Forty years have passed since “Dean’s game.” Meminger and Monroe celebrated it with the others in April at the Garden, one last time.

*****

Dean Peter Meminger (May 13, 1948 – August 23, 2013) was an American basketball player and coach.

Early life and playing career[edit source | editbeta]

Meminger was born in Walterboro, South Carolina, and starred at Rice High School in New York City.[1]
He attended Marquette University, where he played for coach Al McGuire. He helped Marquette win the 1970 National Invitational Tournament. Marquette's 1970 team was ranked 8th in the country at the time and was invited to the NCAA tournament, which it turned down, for a better NIT bid. The NCAA was so incensed by Marquette, it instituted a rule which forced an NCAA Division I team to accept an NCAA bid over an NIT bid. A subsequent antitrust case brought by the NIT against the NCAA over this issue was later settled out of court. Meminger was also the MVP of the 1970 National Invitation Tournament, in which Marquette defeated St. John's 65-53 in the title game. Meminger was drafted in the first round (number 16 overall) of the 1971 NBA Draft by the New York Knicks, with whom he played from 1971 to 1974 and 1976-1977.[2] Meminger played for the Atlanta Hawks from 1974 to 1976.[3]

Coaching career[edit source | editbeta]

Meminger was head coach of the New York Stars in the Women's Professional Basketball League (abbreviated WBL), which played three seasons from the fall of 1978 to the spring of 1981.[4][5]Meminger, with rookie trainer Rick Capistran at his side, guided the Stars to the league championship during the 1979-80 season and was named the league's coach of the year. The team's great success, however, was not enough to save the Stars, which lost so much money the team folded without being able to repeat as champions.[4] Meminger was coaxed to head west, leaving Capistran behind, when he signed up to coach the San Francisco Pioneers in what would be the league's final season.
Among the players Meminger coached to a championship were twins Faye and Kaye Young, fresh out of North Carolina State University. Kaye was married to former Pittsburgh Steelers head coach Bill Cowher.[6] Kaye Cowher died of skin cancer at age 54 on July 23, 2010.
In 1982 Meminger was hired to coach the Albany Patroons in the Continental Basketball Association. He was dismissed for his combative style with his players and replaced by his former Knicks teammate and friend Phil Jackson. Meminger convinced Jackson to let him try out for the team but he was unable to resurrect his career on the court.[4]
Meminger coached the USBL's Long Island Knights in 1987, and in later years, spent some time coaching at Manhattanville College in New York.[7]

Personal[edit source | editbeta]

Meminger's son goes by the same name and is a news reporter and anchor for NY1 News.[8]

Fire incident[edit source | editbeta]

On November 22, 2009, Meminger was rescued from a fire in the Bronx, NYC. Suffering from smoke inhalation, he was admitted to the burn unit of Jacobi Medical Center.[9] Meminger recovered and would remain active in local basketball events. He and trainer Rick Capistran reconnected after 30 years when Capistran tracked his old coach down after reading about Meminger's brush with death in the '09 fire.

Death[edit source | editbeta]


Meminger was found dead at the Casablanca Hotel in Harlem on August 23, 2013.[10]

Wednesday, August 14, 2013

George Duke, Keyboardist and Producer

Keyboardist and producer George Duke dies at 67
By Terence McArdle,August 06, 2013
  • Jazz artist George Duke performs at the 43rd Montreux Jazz Festival in Switzerland on July 13, 2009. The Grammy-winning keyboardist and producer died Aug. 5, 2013 at 67.
Jazz artist George Duke performs at the 43rd Montreux Jazz Festival in Switzerland… (Jean-Christophe Bott/AP )
George Duke, a Grammy-winning keyboardist who crossed musical boundaries to play with entertainers as diverse as Michael Jackson, Frank Zappa and Miles Davis and who became a successful producer of pop-oriented rhythm-and-blues records in the 1980s, died Monday in Los Angeles. He was 67.
The cause was chronic lymphocytic leukemia, his family said.
As a musician, Mr. Duke made forays into the avant-garde rock of Zappa, Brazilian jazz and urban funk. His long string of recording credits included keyboard work on Jackson’s 1979 “Off the Wall” album and records by jazz saxophonist Sonny Rollins and trumpeter Davis.
In the 1960s, Mr. Duke studied trombone and string bass at the San Francisco Conservatory of Music while playing piano in his own jazz trio in clubs at night. The group’s engagements included a stint as the house band with singer Al Jarreau at San Francisco’s Half Note club.
Mr. Duke also struck up a partnership with French violinist Jean-Luc Ponty, and the two recorded an album in 1969 and gave a series of performances in the San Francisco area that drew the attention of Zappa and the jazz saxophonist Julian “Cannonball” Adderley.

In the next decade, Mr. Duke divided his time between playing organ and synthesizer on tours with Zappa’s rock band, the Mothers of Invention, and playing electric piano in Adderley’s jazz group. Starting in 1976, he co-led a jazz fusion group with drummer Billy Cobham, a noted Davis collaborator.
In the studio, Zappa pushed Mr. Duke to use the keyboard synthesizer in new ways, even to imitate the string bends of a guitarist.
“Bend notes! I’m a piano player,” he once said. “Now I can be like [blues guitarist] Johnny ‘Guitar’ Watson. I could play the blues on a synthesizer. I said, that’s it!”
Mr. Duke appeared on nine albums by Adderley and at least 13 by Zappa, including “Roxy & Elsewhere” (1974). When he wasn’t touring with Zappa, Adderley or Cobham, Mr. Duke led and recorded prolifically with his own fusion band.
Mr. Duke said he had wearied of fusion by the late 1970s.
“I felt that had I played as many notes as I could play,” he later told The Washington Post. “I was tired of looking out from the stage and seeing mostly men. . . . The fusion shows attracted mostly men, because it’s male-driven music. Ladies like softer, groove-oriented music. I was wondering if I could draw a different kind of audience with a different kind of music.
“The turning point happened right there in Washington, at the old Cellar Door,” he said. “Ndugu [drummer Leon Chancler] started playing this beat and I liked it so much that I told Byron [bassist Byron Miller] to start playing along to it while I added something on top. We called it ‘Reach for It’ and it became the title track of our next album.”
Reach for It,” a dance groove that could have come from George Clinton’s Parliament, reached No. 2 on the Billboard rhythm-and-blues charts in 1978 and considerably broadened Mr. Duke’s audience — even as it alienated more than a few of his fusion fans.
Another funk-oriented hit, “Dukey Stick,” followed that same year. Some thought the title referred to the mini-Moog keyboard synthesizer that he wore around his neck, but Mr. Duke insisted that it referred to “a magic wand in the tradition of ‘Star Wars.’ ”
In the 1980s, Mr. Duke branched into production work, much of it far afield from jazz and fusion. His many successes included such rhythm-and-blues hits as a Taste of Honey’s lush 1981 remake of the Japanese pop hit “Sukiyaki,” Jeffrey Osborne’s “Stay With Me Tonight” (1983) and Deniece Williams’s “Let’s Hear it for the Boy” from the 1984 movie “Footloose.”
Regarded as a perfectionist in the studio, Mr. Duke also knew how to cut corners when necessary.
“Many of Taste of Honey’s vocals were done right in this office,” he told Musician magazine in 1984. “We came in to save money, moved the couch out, set the micro­phone right here and recorded. For Jeff [Osborne]’s first record, we had to turn the refrigerator off, take the clock out for the ticking and put foam in the windows to keep the birds and dogs from coming through.”
The Dianne Reeves album “In the Moment — Live in Concert,” produced by Mr. Duke, received a 2000 Grammy Award for best jazz vocal album. His other production credits included recordings by the Pointer Sisters, Barry Manilow, Smokey Robinson, Melissa Manchester, Gladys Knight, Anita Baker and the gospel group Take 6.
George Duke was born on Jan. 12, 1946, in San Rafael, Calif. He began taking piano lessons at 4 after his mother took him to see a performance by bandleader and pianist Duke Ellington.
“I don’t remember it too well . . . but my mother told me I went crazy,” Mr. Duke said on his Web site. “I ran around saying: ‘Get me a piano, get me a piano!’ ”

***
George Duke (January 12, 1946 – August 5, 2013) was an American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He had worked with numerous acclaimed artists as arranger, music director, writer and co-writer, record producer and professor of music. He first made a name for himself with the album The Jean-Luc Ponty Experience with the George Duke Trio. He was known primarily for thirty-odd solo albums as well as for his collaborations with other musicians, particularly Frank Zappa.

Biography[edit source | edit]

Early life[edit source | edit]

Duke attended Tamalpais High School in Mill Valley before earning a bachelor's degree in trombone and composition with a minor in contrabass, from the San Francisco Conservatory in 1967.[2] Playing initially with friends from garages to local clubs, Duke quickly eased his way into session work, which refined his abilities and expanded his approach to music. He later earned his Masters Degree in composition from San Francisco State University. He also taught a course on Jazz And American Culture at Merritt College in Oakland.[2]

Career[edit source | edit]

Beginning in 1967 Duke experimented further with jazz fusion, playing and recording with violinist Jean-Luc Ponty, as well as performing with the Don Ellis Orchestra, and Cannonball Adderley's band, while he acquainted himself with Frank Zappa.[1] Duke appeared on a number of Frank Zappa's albums through the 1970s.
Duke served as a record producer and composer on two instrumental tracks on Miles Davis albums: "Backyard Ritual" (from Tutu, 1986) and "Cobra" (from Amandla, 1989). He has also worked with a number of notable Brazilian musicians, including singer Milton Nascimento, percussionist Airto Moreira and singer Flora Purim. Sheila E appeared on Duke's late-1970s solo albums Don't Let Go and Master of the Game.
Duke was prominent in the R&B genre, releasing funk-based songs like "Reach for It" and "Dukey Stick". In 1979 he traveled to Rio de Janeiro, where he recorded the album A Brazilian Love Affair, on which he employed singers Flora Purim and Milton Nascimento and percussionist Airto Moreira. The album contained music in a wide assortment of genres, including some Latin jazz and jazz-influenced material. From a jazz standpoint, the album's most noteworthy songs include Nascimento's "Cravo e Canela," "Love Reborn," and "Up from the Sea It Arose and Ate Rio in One Swift Bite." The track "Brazilian Sugar" was featured on the 2006 video game Dead or Alive Xtreme 2. Meanwhile, Nascimento's vocal on the ballad "Ao Que Vai Nascer" is an example of Brazilian pop at its most sensuous. The 1992 film Leap of Faith featured gospel songs and choir produced by George Duke and choir master Edwin Hawkins.
Duke worked as musical director at numerous large-scale musical events, including the Nelson Mandela tribute concert at Wembley Stadium, London in 1988. In 1989, he temporarily replaced Marcus Miller as musical director of NBC's acclaimed late-night music performance program Sunday Night during its first season.[3] Duke was also a judge for the second annual Independent Music Awards to support independent artists' careers.[4]
Duke worked with Jill Scott on her third studio album, The Real Thing: Words and Sounds Vol. 3; guesting on the track, "Whenever You're Around". In the summer of 2011, he put together a trio with David Sanborn and Marcus Miller for a tour across the US of more than 20 sold out shows.

Legacy & influence[edit source | edit]

Duke died August 5, 2013 in Los Angeles from chronic lymphocytic leukemia. He was 67 and is survived by his sons, Rashid and John.[5]
Duke's songs have been used by a wide variety of contemporary musicians in a wide array of genres. These include: "I Love You More", sampled by house music-act Daft Punk for their hit "Digital Love"; "Guilty", sampled by electronica music artist Mylo in his song "Guilty of Love" on Destroy Rock & Roll. "For Love", sampled by underground hip hop artist MF Doom on his track "I Hear Voices"; "Someday", sampled by hip hop artist/producer Kanye West for Common in "Break My Heart" on his "Finding Forever" album; "You and Me", sampled and used by soul/rhythm and blues influenced hip hop-producer 9th Wonder for his collaboration album with Kaze for the track "Spirit Of '94" on the album Spirit Of '94: Version 9.0; and "Reach for It", sampled by Ice Cube in "True to the Game" on his Death Certificate album and Spice 1 in "In My Neighborhood" on his self-titled debut album, and sampled by W.C. & The Maad Circle (featuring Mack 10 & Ice Cube) in "West Up" on their "Curb Servin'" album.
Duke was nominated for a Grammy as Best Contemporary Jazz Performance for After Hours in 1999.[6] By popular vote, Duke was inducted into The SoulMusic Hall Of Fame at SoulMusic.com in December 2012.[7]

Discography[edit source | edit]


Clarke and Duke in concert

As leader[edit source | edit]

TitleYearLabel
George Duke Quartet Presented by the Jazz Workshop 11966MPS,SABA
The Jean-Luc Ponty Experience with the George Duke Trio1969Pacific Jazz
Save the Country 21970Pickwick
Solus 31971MPS,SABA
The Inner Source (2-LP)1973MPS/BASF
Faces in Reflection1974MPS/BASF
Feel1974MPS/BASF
The Aura Will Prevail1974MPS/BASF
I Love the Blues, She Heard My Cry1975MPS/BASF
Liberated Fantasies1976MPS/BASF
The Billy Cobham – George Duke Band 'Live' on Tour in Europe1976Atlantic
The Dream 41976MPS/BASF
From Me to You1977Epic/CBS
Reach for It1977Epic/CBS
Don't Let Go1978Epic/CBS
Follow the Rainbow1979Epic/CBS
Master of the Game1979Epic/CBS
Brazilian Love Affair1980Epic/CBS
Clarke/Duke Project1981Epic/CBS
Dream On1982Epic/CBS
Clarke/Duke Project 21983Epic/CBS
Guardian of the Light1983Epic/CBS
Rendezvous1984Epic/CBS
Thief in the Night1985Elektra
George Duke1986Elektra
Night After Night1989Elektra
Clarke/Duke Project 31990Epic/CBS
Snapshot1992Warner Bros.
Muir Woods Suite 51993Warner Bros.
Illusions1995Warner Bros.
Is Love Enough1997Warner Bros.
After Hours1998Warner Bros.
Cool2000Warner Bros.
Face the Music2002Bizarre Planet
Duke2005Bizarre Planet
In a Mellow Tone2006Bizarre Planet
Dukey Treats2008Heads Up
Déjà Vu2010Telarc Jazz
Dreamweaver2013Universal Music
1 Rereleased as "The Primal" by MPS in 1978.
2 Rereleased as "Pacific Jazz" by United Artists in 1978 albeit with a different tracklisting.
3 Solus was recorded in April 1971 and intended to be released as a single album by SABA but when SABA folded and became MPS the powers that be decided to postpone its release. They finally put it out as a double album in 1976 together with George's MPS debut "The Inner Source". The latter was recorded in October 1971.
4 Recorded in 1976 and released in 1978 (Europe-only). Released in the USA (in a slightly different version) as "The 1976 Solo Keyboard Album" by Epic/CBS in 1982.
5 Recorded in 1993 at the Montreaux jazz festival but the release got postponed until 1996.

As sideman[edit source | edit]

With Al Jarreau
With Frank Zappa and The Mothers of Invention
With The Keynotes
  • Get On That Gospel Train (MPS, 1973)
With Gene Ammons
With Billy Cobham
  • Crosswinds (Atlantic, 1974)
  • B.C. (Columbia, 1979)
  • Picture This (GRP, 1987)
With Eddie Henderson
With Alphonse Mouzon
With Airto Moreira
With Flora Purim
  • Stories To Tell (Milestone Records, 1974)
  • Open Your Eyes, You Can Fly (Milestone Records, 1976)
  • That's What She Said (Milestone Records, 1978)
  • Carry On (Warner Bros, 1979)
With Michael Jackson
With Jean-Luc Ponty
With Deniece Williams
  • Let's Hear It For the Boy (Columbia, 1984)
  • Love, Niecy Style (Shanachie, 2007)
With Miles Davis
With Dianne Reeves
  • Dianne Reeves (Blue Note, 1987)
With John Scofield
  • Loud Jazz (Gramophone, 1988)
  • Never Too Far (EMI, 1989)
  • Quiet After The Storm (Blue Note, 1995)
  • Bridges (Blue Note, 1999)
  • In the Moment – Live in Concert (Blue Note, 2000)
With Chanté Moore
With Joe Sample
  • Sample This (Warner Bros, 1997)
With Phil Collins
With Regina Belle
With Teena Marie