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Harlem’s reopened National Jazz Museum can see for Mies and Miles | Music | The Guardian
http://www.jazzpromoservices.com/
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http://www.theguardian.com/music/2016/apr/02/national-jazz-museum-harlem-mies-miles
** Harlem’s reopened National Jazz Museum can see for Mies and Miles
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Martin Pengelly (http://www.theguardian.com/profile/martin-pengelly)
National Jazz Museum in Harlem
One of Tim Porter’s first projects as chairman of the board at the newly reopened National Jazz Museum in Harlem, in New York City, will be a series of talks and performances under the title Mies and Miles (http://jazzmuseuminharlem.org/events/sound-architecture-and-music/) . The great modernist Mies van der Rohe (http://www.theguardian.com/world/2012/jan/31/mies-van-der-rohe-villa-tugendhat) ; the great trumpeter Miles Davis (http://www.theguardian.com/music/2015/nov/16/miles-davis-voted-greatest-jazz-artist-of-all-time) . Porter’s programme will explore the links between architecture and music.
“Daniel Libeskind (http://www.newyorker.com/business/currency/daniel-libeskinds-world-trade-center-change-of-heart) , the architect of the new World Trade Center tower, said without music we could not have architecture, and without architecture we could not have music,” said Porter, himself a jazz mandolinist (http://www.timportermusic.com/) of wide repute. “Goethe said architecture was ‘frozen music’.”
In the museum’s new space a permanent exhibit, Vibrations, furthers Porter’s point. It includes an enlargement of part of the score for Harlem Air Shaft by Duke Ellington (https://www.youtube.com/watch?v=Ga7Hh6EzV0o) , a piece which, Porter said, expresses in music sounds heard in – or through – a building in the museum’s own neighbourhood.
“It’s architecture into music,” Porter said, “in the same way that Bud Powell put the sounds of the Champs d’Élysées into A Parisian Thoroughfare.”
He added: “This music which we call jazz owes so much to Harlem, and in Harlem it set off vibrations that went off throughout the world.”
The National Jazz Museum was founded in 1997 by Leonard Garment (http://www.nytimes.com/2013/07/16/us/politics/leonard-garment-nixon-lawyer-and-watergate-figure-dies-at-89.html) , who was both counsel to President Nixon and a professional jazz musician. It first operated from a fourth-floor space in East Harlem. After a long and sometimes difficult search for a new home, supervised by the saxophonist, pianist and jazz historian Loren Schoenberg (http://www.lorenschoenberg.com/) , it has crossed to the other side of the island.
The new premises are on West 129th street, just off Malcolm X Boulevard and “a couple of blocks from Sylvia’s Restaurant”, the hallowed soul food joint where presidents (http://www.npr.org/sections/thesalt/2012/07/20/157108843/soul-food-fans-say-goodbye-to-queen-sylvia) – and would-be presidents (http://www.theguardian.com/us-news/2016/feb/10/bernie-sanders-meets-al-sharpton-harlem) – pay court. The museum has become, in Porter’s words, “a lot more visible”, ready to play an active part in a thriving Harlem arts scene.
A formal reopening was held this week. Attendees, Porter said, formed a “who’s who of the jazz world, including George Wein (http://www.npr.org/event/music/444784781/weins-world-george-wein-at-90) , founder of the Newport Jazz Festival, Mercedes Ellington (http://www.thenational.ae/arts-culture/sophisticated-lady-an-interview-with-mercedes-ellington) , granddaughter of Duke, and the daughter of [jazz critic] Albert Murray (http://www.theguardian.com/world/2013/aug/23/albert-murray) ”.
Harlem Air Shaft, by Duke Ellington.
The museum is an affiliate of the Smithsonian Institution (https://www.si.edu/) , and can thus borrow from Smithsonian collections to document the history of jazz. But it has always seen performance, lectures and discussions as central to its role in keeping one of the 20th century’s dominant musical forms alive and thriving.
“This new exhibition space we’ve got is not huge,” Porter said, “but it’s sort of the Goldilocks principle – it’s just the right size for us and we’re able easily to separate exhibit space from performance space.
“The performance piece of the museum extends throughout the age range. We have programmes for kids to get them interested in jazz and we have a programme that we do for seniors, who might otherwise be left out of the arts scene. We are involved with every age range in between.”
The board of trustees now chaired by Porter includes the trumpeter Wynton Marsalis (http://www.theguardian.com/film/wynton-marsalis) , the pianist and Late Show bandleader Jon Batiste (http://www.eonline.com/news/694725/8-things-to-know-about-jon-batiste-the-late-show-with-stephen-colbert-s-bandleader-who-s-stealing-the-show) and the documentary film-maker Ken Burns (http://www.pbs.org/kenburns/jazz/home/) .
Among the exhibits in the new space are excerpts from the Savory collection (http://www.theguardian.com/music/2010/aug/18/jazz-treasure-trove) , a horde of 70-year-old discs with a remarkable provenance and value that includes performances by Louis Armstrong, Billie Holiday, Count Basie and more.
“The Savory collection is one of the prize jewels of the museum,” Porter said. “It’s a collection of recordings that [sound engineer] William Savory recorded off the radio in the 1930s and 1940s … performances that were not necessarily recorded anywhere else.”
CBS News reports on the discovery of the Savory collection.
Savory’s 12in and 16in discs could hold more music than standard commercial releases of the day: many contain unique takes on widely loved jazz standards. For example, there is a six-minute version of Body and Soul (https://www.youtube.com/watch?v=zUFg6HvljDE) , by Coleman Hawkins.
Savory died in 2004. In 2010, the museum acquired his discs from his son (http://www.nytimes.com/2010/08/17/arts/music/17jazz.html?_r=0) . Some of the recordings were in good condition, some were not, some were one play away from disintegration. The savable has been saved; efforts to track down permissions to propagate it go on.
“This is really a unique collection and we have been looking to ensure that this music gets out to the public,” Porter said. “We have been looking at ways of doing it online (http://jazzmuseuminharlem.org/the-museum/collections/the-savory-collection/) .
“We have managed to get the permissions we need for certain pieces but when you’ve got a big band recording, there’s a whole lot of people and they’ve got a whole bunch of heirs. Yes, that’s the tricky part …
“But now you can come into the museum and hear everything that is within the Savory collection. It’s a major draw for us and it really distinguishes the museum.”
* The National Jazz Museum in Harlem is located at 58 West 129th Street, New York City. More details here (http://jazzmuseuminharlem.org/) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Gato Barbieri, Latin Jazz Trailblazer, Dies at 83 – The New York Times
http://www.jazzpromoservices.com/
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http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html
** Gato Barbieri, Latin Jazz Trailblazer, Dies at 83
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By CHRISTOPHER MELEAPRIL 2, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html#story-continues-1) Share This Page
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Leandro Barbieri, known as El Gato, playing the tenor saxophone at the JVC Jazz Festival in Manhattan in 2001. Jack Vartoogian/FrontRowPhotos
Leandro Barbieri, a jazz saxophonist who was a pioneer in Latin jazz and who won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for his music in the film “Last Tango in Paris,” died on Saturday. He was 83.
His death was confirmed by Jordy Freed, the vice president of marketing and communications for the Blue Note Entertainment Group. Mr. Barbieri’s wife, Laura, said he died of pneumonia at a New York hospital, The Associated Press reported.
“I’m so grateful we had these 20 years together,” Ms. Barbieri told The Associated Press. She said a public memorial was being planned but details had not been finalized.
Mr. Barbieri, who was born on Nov. 28, 1932, in Argentina, recorded 35 albums between 1967 and 1982. He earned the nickname Gato, which means “the cat,” in the 1950s because of the way he scampered between clubs in Buenos Aires with his saxophone to make it to his next gig.
“Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience,” Ms. Barbieri said. “He was honored for all the years he had a chance to bring his music all around the world.”
A biography of Mr. Barbieri on Blue Note’s website (http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=8069) described him as “mystical yet fiery, passionately romantic yet supremely cool.”
Though in poor health, Mr. Barbieri, still sporting his trademark black fedora, had been performing monthly at the Blue Note jazz club in New York. His last public performance was on Nov. 23, Mr. Freed said. He started performing there in 1985.
“He was a worldly free spirit, a really sweet man,” Mr. Freed said. “He really was a pioneer. He really helped pave the way for Latin jazz.”
Last year, Mr. Barbieri received a Latin Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) lifetime achievement award for a career that covered “virtually the entire jazz landscape.” The citation, from the Latin Recording Academy, credited him with creating “a rebellious but highly accessible musical style, combining contemporary jazz with Latin American genres and incorporating elements of instrumental pop.”
Continue reading the main story
Mr. Freed said that Mr. Barbieri’s fans — and even those outside the jazz world — would most appreciate his work in “Last Tango in Paris,” (http://www.imdb.com/title/tt0070849/) which was released in 1972 and starred Marlon Brando and Maria Schneider. Mr. Barbieri won a Grammy Award for his work on the film.
When the director, Bernardo Bertolucci, sought music for the steamy movie, he chose Mr. Barbieri and his characteristic tenor sax sound.
“It was like a marriage between the film and the music,” Mr. Barbieri said of the soundtrack that made him an international star, in a 1997 interview with The Associated Press. “Bernardo told me, ‘I don’t want the music to be too much Hollywood or too much European, which is more intellectual. I want a median.’”
Barbieri said tango had a special appeal because it was deeply tied to his Argentine soul.
“Always in the tango is tragedy she leaves him, she kills him,” he said. “It’s like an opera but it’s called tango.”
Correction: April 3, 2016
An earlier version of this article and a picture caption misspelled the name of the musician. He is Leandro Barbieri, not Leonardo.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
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Warwick, Ny 10990
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Gato Barbieri, Latin Jazz Trailblazer, Dies at 83 – The New York Times
http://www.jazzpromoservices.com/
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http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html
** Gato Barbieri, Latin Jazz Trailblazer, Dies at 83
————————————————————
By CHRISTOPHER MELEAPRIL 2, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html#story-continues-1) Share This Page
*
*
*
*
*
Leandro Barbieri, known as El Gato, playing the tenor saxophone at the JVC Jazz Festival in Manhattan in 2001. Jack Vartoogian/FrontRowPhotos
Leandro Barbieri, a jazz saxophonist who was a pioneer in Latin jazz and who won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for his music in the film “Last Tango in Paris,” died on Saturday. He was 83.
His death was confirmed by Jordy Freed, the vice president of marketing and communications for the Blue Note Entertainment Group. Mr. Barbieri’s wife, Laura, said he died of pneumonia at a New York hospital, The Associated Press reported.
“I’m so grateful we had these 20 years together,” Ms. Barbieri told The Associated Press. She said a public memorial was being planned but details had not been finalized.
Mr. Barbieri, who was born on Nov. 28, 1932, in Argentina, recorded 35 albums between 1967 and 1982. He earned the nickname Gato, which means “the cat,” in the 1950s because of the way he scampered between clubs in Buenos Aires with his saxophone to make it to his next gig.
“Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience,” Ms. Barbieri said. “He was honored for all the years he had a chance to bring his music all around the world.”
A biography of Mr. Barbieri on Blue Note’s website (http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=8069) described him as “mystical yet fiery, passionately romantic yet supremely cool.”
Though in poor health, Mr. Barbieri, still sporting his trademark black fedora, had been performing monthly at the Blue Note jazz club in New York. His last public performance was on Nov. 23, Mr. Freed said. He started performing there in 1985.
“He was a worldly free spirit, a really sweet man,” Mr. Freed said. “He really was a pioneer. He really helped pave the way for Latin jazz.”
Last year, Mr. Barbieri received a Latin Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) lifetime achievement award for a career that covered “virtually the entire jazz landscape.” The citation, from the Latin Recording Academy, credited him with creating “a rebellious but highly accessible musical style, combining contemporary jazz with Latin American genres and incorporating elements of instrumental pop.”
Continue reading the main story
Mr. Freed said that Mr. Barbieri’s fans — and even those outside the jazz world — would most appreciate his work in “Last Tango in Paris,” (http://www.imdb.com/title/tt0070849/) which was released in 1972 and starred Marlon Brando and Maria Schneider. Mr. Barbieri won a Grammy Award for his work on the film.
When the director, Bernardo Bertolucci, sought music for the steamy movie, he chose Mr. Barbieri and his characteristic tenor sax sound.
“It was like a marriage between the film and the music,” Mr. Barbieri said of the soundtrack that made him an international star, in a 1997 interview with The Associated Press. “Bernardo told me, ‘I don’t want the music to be too much Hollywood or too much European, which is more intellectual. I want a median.’”
Barbieri said tango had a special appeal because it was deeply tied to his Argentine soul.
“Always in the tango is tragedy she leaves him, she kills him,” he said. “It’s like an opera but it’s called tango.”
Correction: April 3, 2016
An earlier version of this article and a picture caption misspelled the name of the musician. He is Leandro Barbieri, not Leonardo.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
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Nelson Riddle as Composer, Not Arranger – WSJ
http://www.jazzpromoservices.com/
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http://www.wsj.com/articles/nelson-riddle-as-composer-not-arranger-1459542770
** Nelson Riddle as Composer, Not Arranger
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By
Will Friedwald
April 1, 2016 4:32 p.m. ET
On Aug. 29, 1958, audiences at the Hollywood Bowl were treated to something extraordinary. Most of them were there to hear the superstar pop and jazz singer Nat King Cole, and were surprised when Cole’s musical director, Nelson Riddle, also conducted the Hollywood Bowl Orchestra’s performance of several of his own instrumental compositions, which were part of a new work.
Nelson Riddle circa 1960. ENLARGE
Nelson Riddle circa 1960. Photo: Capitol Records
In one sense, it wouldn’t be entirely accurate to say that the “Cross Country Suite,” as it was called, was unlike anything they had heard before. It was like European symphonic music and like American jazz—there were echoes of Duke Ellington and shout-outs to Aaron Copland and Leonard Bernstein. It used the clarinet concerto form, in the best tradition of Mozart, except that the central player, clarinetist Buddy DeFranco, was largely improvising his part. “Cross Country Suite” covered as many musical genres as it did American states; some sections sounded like New Orleans blues, others like Times Square show tunes. Yet all of it sounded uniquely like Riddle, and was of the same high caliber as those superlative arrangements he had been writing for stars like Cole and Frank Sinatra.
The “Cross Country Suite” had been recorded several months earlier, and the album would soon win the first-ever Grammy Award for “Best Original Instrumental Composition” in 1959. Even so, the suite would then sit on the shelf for almost 50 years. When it is played at Symphony Space on Saturday by the Wooster Symphony Orchestra, conducted by Jeffrey Lindberg and featuring Paquito D’Rivera as the principal soloist, it will be the New York premiere of the complete work.
It had been DeFranco (1923-2014) who had inspired Riddle (1921-1985) to compose the suite. DeFranco had asked Riddle for an extended work for jazz clarinet and classical orchestra that he could play at the clinics he was starting to give for music students at colleges across the country. Riddle began work on a long-form piece that would eventually encompass 11 movements and 36 minutes on the 1958 album.
Listening to the work in the context of Riddle’s entire career, a fact becomes clear that was less apparent in his own lifetime. While Riddle, as an arranger of others’ classic tunes, devoted most of his creative energies toward making great vocalists (like Ella Fitzgerald, Judy Garland and Rosemary Clooney, in addition to Cole and Sinatra) and songwriters sound even better, he yearned to create music that was truly his own. Milt Bernhart, who played trombone for Riddle for several decades, remembered near the end of his life, “Nelson said to me once that he would have traded all those arrangements for one song like Henry Mancini’s. Just one song!”
Riddle had virtually no success as a songwriter, but the “Cross Country Suite” proves that he had serious compositional talent, creating what amounts to classical music using the American vernacular. “Cross Country,” for all of its abundant originality, conforms closely to the central tenets of both suite and concerto form; no less remarkably, parts of it suggest, say, a Stravinsky ballet and the extended musical-theater dance numbers of Richard Rodgers. And, simultaneously, nearly all of the suite sounds like the best movie music, the old-world grandeur of Bernard Herrmann or Miklós Rózsa combined with the street smarts of Elmer Bernstein.
Ten years ago, Jeffrey Lindberg began to reconstruct the suite from a combination of incomplete manuscripts (preserved by both DeFranco and Riddle’s daughter, Rosemary Acerra) and his own transcription of the 1958 recording. In 2007, he conducted it with DeFranco and the Chicago Jazz Orchestra (about the same time that the album was finally reissued on CD). Excerpts were also performed by clarinetist Ken Peplowski at a Los Angeles Jazz Institute concert last October. Still, opportunities to hear the work have been rare. From the folkish simplicity of “Smoky Mountain Country” and the railroad rhythms of “Tall Timber” to the erotic pas-de-deux of “Metropolis” and the Broadway bravura of “Longhorn”—this is quintessential American concert music, the kind that deserves to be heard more widely.
—Mr. Friedwald writes about jazz for the Journal.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Nelson Riddle as Composer, Not Arranger – WSJ
http://www.jazzpromoservices.com/
**
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http://www.wsj.com/articles/nelson-riddle-as-composer-not-arranger-1459542770
** Nelson Riddle as Composer, Not Arranger
————————————————————
By
Will Friedwald
April 1, 2016 4:32 p.m. ET
On Aug. 29, 1958, audiences at the Hollywood Bowl were treated to something extraordinary. Most of them were there to hear the superstar pop and jazz singer Nat King Cole, and were surprised when Cole’s musical director, Nelson Riddle, also conducted the Hollywood Bowl Orchestra’s performance of several of his own instrumental compositions, which were part of a new work.
Nelson Riddle circa 1960. ENLARGE
Nelson Riddle circa 1960. Photo: Capitol Records
In one sense, it wouldn’t be entirely accurate to say that the “Cross Country Suite,” as it was called, was unlike anything they had heard before. It was like European symphonic music and like American jazz—there were echoes of Duke Ellington and shout-outs to Aaron Copland and Leonard Bernstein. It used the clarinet concerto form, in the best tradition of Mozart, except that the central player, clarinetist Buddy DeFranco, was largely improvising his part. “Cross Country Suite” covered as many musical genres as it did American states; some sections sounded like New Orleans blues, others like Times Square show tunes. Yet all of it sounded uniquely like Riddle, and was of the same high caliber as those superlative arrangements he had been writing for stars like Cole and Frank Sinatra.
The “Cross Country Suite” had been recorded several months earlier, and the album would soon win the first-ever Grammy Award for “Best Original Instrumental Composition” in 1959. Even so, the suite would then sit on the shelf for almost 50 years. When it is played at Symphony Space on Saturday by the Wooster Symphony Orchestra, conducted by Jeffrey Lindberg and featuring Paquito D’Rivera as the principal soloist, it will be the New York premiere of the complete work.
It had been DeFranco (1923-2014) who had inspired Riddle (1921-1985) to compose the suite. DeFranco had asked Riddle for an extended work for jazz clarinet and classical orchestra that he could play at the clinics he was starting to give for music students at colleges across the country. Riddle began work on a long-form piece that would eventually encompass 11 movements and 36 minutes on the 1958 album.
Listening to the work in the context of Riddle’s entire career, a fact becomes clear that was less apparent in his own lifetime. While Riddle, as an arranger of others’ classic tunes, devoted most of his creative energies toward making great vocalists (like Ella Fitzgerald, Judy Garland and Rosemary Clooney, in addition to Cole and Sinatra) and songwriters sound even better, he yearned to create music that was truly his own. Milt Bernhart, who played trombone for Riddle for several decades, remembered near the end of his life, “Nelson said to me once that he would have traded all those arrangements for one song like Henry Mancini’s. Just one song!”
Riddle had virtually no success as a songwriter, but the “Cross Country Suite” proves that he had serious compositional talent, creating what amounts to classical music using the American vernacular. “Cross Country,” for all of its abundant originality, conforms closely to the central tenets of both suite and concerto form; no less remarkably, parts of it suggest, say, a Stravinsky ballet and the extended musical-theater dance numbers of Richard Rodgers. And, simultaneously, nearly all of the suite sounds like the best movie music, the old-world grandeur of Bernard Herrmann or Miklós Rózsa combined with the street smarts of Elmer Bernstein.
Ten years ago, Jeffrey Lindberg began to reconstruct the suite from a combination of incomplete manuscripts (preserved by both DeFranco and Riddle’s daughter, Rosemary Acerra) and his own transcription of the 1958 recording. In 2007, he conducted it with DeFranco and the Chicago Jazz Orchestra (about the same time that the album was finally reissued on CD). Excerpts were also performed by clarinetist Ken Peplowski at a Los Angeles Jazz Institute concert last October. Still, opportunities to hear the work have been rare. From the folkish simplicity of “Smoky Mountain Country” and the railroad rhythms of “Tall Timber” to the erotic pas-de-deux of “Metropolis” and the Broadway bravura of “Longhorn”—this is quintessential American concert music, the kind that deserves to be heard more widely.
—Mr. Friedwald writes about jazz for the Journal.
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The Jazz Whistler – Ron McCroby – YouTube
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https://www.youtube.com/watch?v=0jBwPBRvaoM
https://www.youtube.com/watch?v=0jBwPBRvaoM
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The Jazz Whistler – Ron McCroby – YouTube
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**
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https://www.youtube.com/watch?v=0jBwPBRvaoM
https://www.youtube.com/watch?v=0jBwPBRvaoM
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
http://www.jazzpromoservices.com/
**
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http://patch.com/new-jersey/montclair/montclair-jazz-nonprofit-honor-sax-master-sonny-rollins-0
** Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
————————————————————
By ERIC KIEFER (http://patch.com/users/eric.kiefer)
Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
Montclair, NJ – One of the world’s greatest living saxophone players will be the special guest at the 8th annual “Inside the Jazz Note Education Fund Benefit.”
Montclair-based nonprofit Jazz House Kids will host Sonny Rollins for the May 19 fundraising event, to held at 7:30 p.m. on May 19, at the Alexander Kasser Theater of Montclair State University.
All proceeds from the event will benefit the Jazz House Kids Education Fund, according to a news release.
Hosted by bassist, composer, educator and recently announced artistic director of the Newport Jazz Festival Christian McBride, the evening will celebrate Sonny Rollins’ music with explosive performances by McBride and two leading tenor saxophone voices of today: Chris Potter and Ron Blake.
* See related article: Montclair’s Christian McBride Named Director Of Newport Jazz Festival (http://patch.com/new-jersey/montclair/montclairs-christian-mcbride-named-director-newport-jazz-festival-0)
During the event, Rollins will conduct an in-person conversation with McBride, sharing stories with the audience about his eight-decade career. Organizers will also present him with the Jazz House Kids Coleman Hawkins Inspiration Award.
The evening will also feature video and audio recordings, as well as a photo montage by jazz photographer John Abbott.
General admission tickets for the May 19 evening benefit are $40, $60 and $150. Student and group tickets are also available. For tickets call (973) 744-2273 or visit www.jazzhousekids.org (http://www.jazzhousekids.org/) .
Sign up for Patch NJ email newsletters here. (http://patch.com/new-jersey/hoboken/sign-patch-new-jersey-newsletters-here-0)
Send local news tips, photos and press releases to eric.kiefer@patch.com (mailto:eric.kiefer@patch.com)
Photo by John Abbott
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
http://www.jazzpromoservices.com/
**
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http://patch.com/new-jersey/montclair/montclair-jazz-nonprofit-honor-sax-master-sonny-rollins-0
** Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
————————————————————
By ERIC KIEFER (http://patch.com/users/eric.kiefer)
Montclair Jazz Nonprofit To Honor Sax Master, Sonny Rollins
Montclair, NJ – One of the world’s greatest living saxophone players will be the special guest at the 8th annual “Inside the Jazz Note Education Fund Benefit.”
Montclair-based nonprofit Jazz House Kids will host Sonny Rollins for the May 19 fundraising event, to held at 7:30 p.m. on May 19, at the Alexander Kasser Theater of Montclair State University.
All proceeds from the event will benefit the Jazz House Kids Education Fund, according to a news release.
Hosted by bassist, composer, educator and recently announced artistic director of the Newport Jazz Festival Christian McBride, the evening will celebrate Sonny Rollins’ music with explosive performances by McBride and two leading tenor saxophone voices of today: Chris Potter and Ron Blake.
* See related article: Montclair’s Christian McBride Named Director Of Newport Jazz Festival (http://patch.com/new-jersey/montclair/montclairs-christian-mcbride-named-director-newport-jazz-festival-0)
During the event, Rollins will conduct an in-person conversation with McBride, sharing stories with the audience about his eight-decade career. Organizers will also present him with the Jazz House Kids Coleman Hawkins Inspiration Award.
The evening will also feature video and audio recordings, as well as a photo montage by jazz photographer John Abbott.
General admission tickets for the May 19 evening benefit are $40, $60 and $150. Student and group tickets are also available. For tickets call (973) 744-2273 or visit www.jazzhousekids.org (http://www.jazzhousekids.org/) .
Sign up for Patch NJ email newsletters here. (http://patch.com/new-jersey/hoboken/sign-patch-new-jersey-newsletters-here-0)
Send local news tips, photos and press releases to eric.kiefer@patch.com (mailto:eric.kiefer@patch.com)
Photo by John Abbott
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
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The National Jazz Museum in Harlem Finds a Permanent Home – The New York Times
http://www.jazzpromoservices.com/
**
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http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330
** The National Jazz Museum in Harlem Finds a Permanent Home
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 30, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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The musicians Terri Davis, left, and Bill Saxton at the opening of the National Jazz Museum in Harlem.Yana Paskova for The New York Times
The National Jazz Museum in Harlem (http://jazzmuseuminharlem.org/) has always been, like the music it honors, a study in adaptability. For the last 15 years, it has operated out of a modest fourth-floor space in East Harlem, while developing big plans for a permanent home. Now, after weathering a few disappointments, the museum has relocated to a new storefront on West 129th Street, in a move that signals not only an improvement to its public facilities but also a renewal of its mission.
“Being in a new space has shifted our approach to what is possible,” Ryan Maloney, the museum’s director of education and programming, said during an opening reception on Tuesday night, as a quartet led by the pianist Marc Cary played a hard-swinging Hank Mobley tune.
The museum now sits off Malcolm X Boulevard, a couple of blocks north of Sylvia’s and Red Rooster, the emblematic culinary institutions of old and new Harlem. It occupies the ground floor of a new condominium building, and while it’s not a large footprint — just under 2,400 square feet, of which 1,900 is devoted to public space — the design and layout were carefully considered.
In some ways, the embrace of that small scale reflects well on the institution. Founded in 1997 by Leonard Garment, former counsel to President Richard M. Nixon, the National Jazz Museum in Harlem began with noble intentions but limited resources. “We flailed around for several years, and while we did, the money ran out,” Mr. Garment wrote in a 2002 article (http://www.nytimes.com/2002/04/24/arts/after-years-of-vamping-a-jazz-museum-gets-ready-for-harlem.html) for The New York Times. (He died in 2013 (http://www.nytimes.com/2013/07/16/us/politics/leonard-garment-nixon-lawyer-and-watergate-figure-dies-at-89.html) .)
The museum found its footing, in incremental steps, under the executive leadership of Loren Schoenberg. A veteran saxophonist, pianist, educator and historian, Mr. Schoenberg brought an air of authority to the museum, while strengthening its bonds with the jazz public and institutions like the Smithsonian. He enlisted two artistic directors, both still actively involved: the bassist Christian McBride and the pianist Jon Batiste. (Mr. McBride is the recently announced new artistic director for the Newport Jazz Festival (http://www.nytimes.com/2016/03/10/arts/music/christian-mcbride-newport-jazz-festival-star-becomes-a-backstage-player.html?_r=0) ; Mr. Batiste, the bandleader on “The Late Show With Stephen Colbert,” (http://www.nytimes.com/2015/09/08/arts/music/jon-batiste-will-lead-the-late-show-with-stephen-colbert-band-in-a-style-he-sees-fit.html) was one of Mr. Schoenberg’s students at Juilliard.)
Camille Thornhill, the museum’s membership coordinator, at the opening party. Yana Paskova for The New York Times
There was always a drive to secure a permanent home. One intended location, in the historic Victoria Theater, sputtered when the redevelopment plan stalled. Another prospect, in a mixed-use space across 125th Street from the Apollo Theater, also fell through.
Continue reading the main story
“While we were looking for a space, we realized that it was necessary to do public programming,” said Mr. Schoenberg, who is now a founding director and senior scholar. “And during that period of a decade or so, we became known for the public programming. We began to think that the future of the museum was not really bound up in a huge space, but in being an institution that does hundreds of public programs a year, and is uniquely anchored in the community.”
The museum has held guided listening sessions, along with musical performances and exhibitions. A series called Harlem Stride — equal parts history lesson, demo and cutting session — was led this year by the pianist Ethan Iverson. Among the featured programs this spring are a concert and lecture series called Mies and Miles: Design and Architecture in Music (Tuesday through April 26), led by Tim Porter, chairman of the museum’s board of trustees, and “Albert Murray: 20th-Century American Genius” (May 10 and 12), a symposium organized by the writer Greg Thomas.
The schedule reflects a continuing commitment to jazz outreach at street level, with few pretensions. “We’re more like the Duke Ellington Band than the New York Philharmonic,” Mr. Schoenberg said. “The effect that a single member can have — they vibrate much more vividly in the organization, because it’s still relatively small.”
Since unofficially opening its doors in February, Mr. Maloney said, the museum had hosted more than 400 visiting schoolchildren, as well as some international tourists.
Working within its limited space, it has put up an exhibition titled “Vibrations,” which draws a connection, mainly through photographs, from early jazz musicians to contemporary artists like the rapper Kendrick Lamar. But the institution’s primary draw will continue to be the range of expertise and enthusiasm that it mobilizes through programming, and all the ways it engages with the public.
“We’re going to be able to do a lot more partnering with other arts organizations in this space,” Mr. Porter said. “The other thing is, this really allows us to be a full participant in the life of Harlem.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5b15067ac5) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=5b15067ac5&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The National Jazz Museum in Harlem Finds a Permanent Home – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330
** The National Jazz Museum in Harlem Finds a Permanent Home
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 30, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
*
*
*
*
*
*
The musicians Terri Davis, left, and Bill Saxton at the opening of the National Jazz Museum in Harlem.Yana Paskova for The New York Times
The National Jazz Museum in Harlem (http://jazzmuseuminharlem.org/) has always been, like the music it honors, a study in adaptability. For the last 15 years, it has operated out of a modest fourth-floor space in East Harlem, while developing big plans for a permanent home. Now, after weathering a few disappointments, the museum has relocated to a new storefront on West 129th Street, in a move that signals not only an improvement to its public facilities but also a renewal of its mission.
“Being in a new space has shifted our approach to what is possible,” Ryan Maloney, the museum’s director of education and programming, said during an opening reception on Tuesday night, as a quartet led by the pianist Marc Cary played a hard-swinging Hank Mobley tune.
The museum now sits off Malcolm X Boulevard, a couple of blocks north of Sylvia’s and Red Rooster, the emblematic culinary institutions of old and new Harlem. It occupies the ground floor of a new condominium building, and while it’s not a large footprint — just under 2,400 square feet, of which 1,900 is devoted to public space — the design and layout were carefully considered.
In some ways, the embrace of that small scale reflects well on the institution. Founded in 1997 by Leonard Garment, former counsel to President Richard M. Nixon, the National Jazz Museum in Harlem began with noble intentions but limited resources. “We flailed around for several years, and while we did, the money ran out,” Mr. Garment wrote in a 2002 article (http://www.nytimes.com/2002/04/24/arts/after-years-of-vamping-a-jazz-museum-gets-ready-for-harlem.html) for The New York Times. (He died in 2013 (http://www.nytimes.com/2013/07/16/us/politics/leonard-garment-nixon-lawyer-and-watergate-figure-dies-at-89.html) .)
The museum found its footing, in incremental steps, under the executive leadership of Loren Schoenberg. A veteran saxophonist, pianist, educator and historian, Mr. Schoenberg brought an air of authority to the museum, while strengthening its bonds with the jazz public and institutions like the Smithsonian. He enlisted two artistic directors, both still actively involved: the bassist Christian McBride and the pianist Jon Batiste. (Mr. McBride is the recently announced new artistic director for the Newport Jazz Festival (http://www.nytimes.com/2016/03/10/arts/music/christian-mcbride-newport-jazz-festival-star-becomes-a-backstage-player.html?_r=0) ; Mr. Batiste, the bandleader on “The Late Show With Stephen Colbert,” (http://www.nytimes.com/2015/09/08/arts/music/jon-batiste-will-lead-the-late-show-with-stephen-colbert-band-in-a-style-he-sees-fit.html) was one of Mr. Schoenberg’s students at Juilliard.)
Camille Thornhill, the museum’s membership coordinator, at the opening party. Yana Paskova for The New York Times
There was always a drive to secure a permanent home. One intended location, in the historic Victoria Theater, sputtered when the redevelopment plan stalled. Another prospect, in a mixed-use space across 125th Street from the Apollo Theater, also fell through.
Continue reading the main story
“While we were looking for a space, we realized that it was necessary to do public programming,” said Mr. Schoenberg, who is now a founding director and senior scholar. “And during that period of a decade or so, we became known for the public programming. We began to think that the future of the museum was not really bound up in a huge space, but in being an institution that does hundreds of public programs a year, and is uniquely anchored in the community.”
The museum has held guided listening sessions, along with musical performances and exhibitions. A series called Harlem Stride — equal parts history lesson, demo and cutting session — was led this year by the pianist Ethan Iverson. Among the featured programs this spring are a concert and lecture series called Mies and Miles: Design and Architecture in Music (Tuesday through April 26), led by Tim Porter, chairman of the museum’s board of trustees, and “Albert Murray: 20th-Century American Genius” (May 10 and 12), a symposium organized by the writer Greg Thomas.
The schedule reflects a continuing commitment to jazz outreach at street level, with few pretensions. “We’re more like the Duke Ellington Band than the New York Philharmonic,” Mr. Schoenberg said. “The effect that a single member can have — they vibrate much more vividly in the organization, because it’s still relatively small.”
Since unofficially opening its doors in February, Mr. Maloney said, the museum had hosted more than 400 visiting schoolchildren, as well as some international tourists.
Working within its limited space, it has put up an exhibition titled “Vibrations,” which draws a connection, mainly through photographs, from early jazz musicians to contemporary artists like the rapper Kendrick Lamar. But the institution’s primary draw will continue to be the range of expertise and enthusiasm that it mobilizes through programming, and all the ways it engages with the public.
“We’re going to be able to do a lot more partnering with other arts organizations in this space,” Mr. Porter said. “The other thing is, this really allows us to be a full participant in the life of Harlem.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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The National Jazz Museum in Harlem Finds a Permanent Home – The New York Times
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http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330
** The National Jazz Museum in Harlem Finds a Permanent Home
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By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 30, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/31/arts/music/the-national-jazz-museum-in-harlem-finds-a-permanent-home.html?emc=edit_tnt_20160330&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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The musicians Terri Davis, left, and Bill Saxton at the opening of the National Jazz Museum in Harlem.Yana Paskova for The New York Times
The National Jazz Museum in Harlem (http://jazzmuseuminharlem.org/) has always been, like the music it honors, a study in adaptability. For the last 15 years, it has operated out of a modest fourth-floor space in East Harlem, while developing big plans for a permanent home. Now, after weathering a few disappointments, the museum has relocated to a new storefront on West 129th Street, in a move that signals not only an improvement to its public facilities but also a renewal of its mission.
“Being in a new space has shifted our approach to what is possible,” Ryan Maloney, the museum’s director of education and programming, said during an opening reception on Tuesday night, as a quartet led by the pianist Marc Cary played a hard-swinging Hank Mobley tune.
The museum now sits off Malcolm X Boulevard, a couple of blocks north of Sylvia’s and Red Rooster, the emblematic culinary institutions of old and new Harlem. It occupies the ground floor of a new condominium building, and while it’s not a large footprint — just under 2,400 square feet, of which 1,900 is devoted to public space — the design and layout were carefully considered.
In some ways, the embrace of that small scale reflects well on the institution. Founded in 1997 by Leonard Garment, former counsel to President Richard M. Nixon, the National Jazz Museum in Harlem began with noble intentions but limited resources. “We flailed around for several years, and while we did, the money ran out,” Mr. Garment wrote in a 2002 article (http://www.nytimes.com/2002/04/24/arts/after-years-of-vamping-a-jazz-museum-gets-ready-for-harlem.html) for The New York Times. (He died in 2013 (http://www.nytimes.com/2013/07/16/us/politics/leonard-garment-nixon-lawyer-and-watergate-figure-dies-at-89.html) .)
The museum found its footing, in incremental steps, under the executive leadership of Loren Schoenberg. A veteran saxophonist, pianist, educator and historian, Mr. Schoenberg brought an air of authority to the museum, while strengthening its bonds with the jazz public and institutions like the Smithsonian. He enlisted two artistic directors, both still actively involved: the bassist Christian McBride and the pianist Jon Batiste. (Mr. McBride is the recently announced new artistic director for the Newport Jazz Festival (http://www.nytimes.com/2016/03/10/arts/music/christian-mcbride-newport-jazz-festival-star-becomes-a-backstage-player.html?_r=0) ; Mr. Batiste, the bandleader on “The Late Show With Stephen Colbert,” (http://www.nytimes.com/2015/09/08/arts/music/jon-batiste-will-lead-the-late-show-with-stephen-colbert-band-in-a-style-he-sees-fit.html) was one of Mr. Schoenberg’s students at Juilliard.)
Camille Thornhill, the museum’s membership coordinator, at the opening party. Yana Paskova for The New York Times
There was always a drive to secure a permanent home. One intended location, in the historic Victoria Theater, sputtered when the redevelopment plan stalled. Another prospect, in a mixed-use space across 125th Street from the Apollo Theater, also fell through.
Continue reading the main story
“While we were looking for a space, we realized that it was necessary to do public programming,” said Mr. Schoenberg, who is now a founding director and senior scholar. “And during that period of a decade or so, we became known for the public programming. We began to think that the future of the museum was not really bound up in a huge space, but in being an institution that does hundreds of public programs a year, and is uniquely anchored in the community.”
The museum has held guided listening sessions, along with musical performances and exhibitions. A series called Harlem Stride — equal parts history lesson, demo and cutting session — was led this year by the pianist Ethan Iverson. Among the featured programs this spring are a concert and lecture series called Mies and Miles: Design and Architecture in Music (Tuesday through April 26), led by Tim Porter, chairman of the museum’s board of trustees, and “Albert Murray: 20th-Century American Genius” (May 10 and 12), a symposium organized by the writer Greg Thomas.
The schedule reflects a continuing commitment to jazz outreach at street level, with few pretensions. “We’re more like the Duke Ellington Band than the New York Philharmonic,” Mr. Schoenberg said. “The effect that a single member can have — they vibrate much more vividly in the organization, because it’s still relatively small.”
Since unofficially opening its doors in February, Mr. Maloney said, the museum had hosted more than 400 visiting schoolchildren, as well as some international tourists.
Working within its limited space, it has put up an exhibition titled “Vibrations,” which draws a connection, mainly through photographs, from early jazz musicians to contemporary artists like the rapper Kendrick Lamar. But the institution’s primary draw will continue to be the range of expertise and enthusiasm that it mobilizes through programming, and all the ways it engages with the public.
“We’re going to be able to do a lot more partnering with other arts organizations in this space,” Mr. Porter said. “The other thing is, this really allows us to be a full participant in the life of Harlem.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84 – The New York Times
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http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0
** David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84
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By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0#story-continues-1) Share This Page
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The performer, composer and educator David Baker. He founded Indiana University’s jazz studies program in 1968. Hugh Talman/National Museum of American History
David Baker, a performer, composer and educator who helped bring jazz studies into the academy at a time when the ivory tower considered the field infra dig, died on Saturday at his home in Bloomington, Ind. He was 84.
His death was announced by the Indiana University Jacobs School of Music, where he was a distinguished professor emeritus.
A trombonist and later a cellist, Mr. Baker founded Indiana’s jazz studies program (http://music.indiana.edu/departments/academic/jazz/) — one of the first of its kind at an American university — in 1968. It remains one of the most respected among the dozens of academic jazz programs now flourishing in the United States.
As a performer, Mr. Baker played in the ensembles of Quincy Jones and George Russell. With Gunther Schuller, he founded the Smithsonian Jazz Masterworks Orchestra (https://smithsonianassociates.org/ticketing/landing/smithsonian-jazz-masterworks-orchestra.aspx) in 1990, serving for many years as its artistic and musical director.
As a composer, he wrote hundreds of pieces, including jazz works and jazz-inflected concert music, for instrumentalists and ensembles including the violinists Josef Gingold (http://www.nytimes.com/1995/01/13/obituaries/josef-gingold-85-violinist-and-influential-teacher-dies.html) and Ruggiero Ricci (http://www.nytimes.com/2012/08/10/arts/music/ruggiero-ricci-virtuoso-violinist-dies-at-94.html) , the cellist Janos Starker (http://www.nytimes.com/2013/04/30/arts/music/janos-starker-master-cellist-dies-at-88.html) , the Beaux Arts Trio, the Audubon String Quartet, the New York Philharmonic (http://nyphil.org/) and the Fisk Jubilee Singers (http://www.fiskjubileesingers.org/) .
Continue reading the main story
For his work, Mr. Baker was named a Jazz Master by the National Endowment for the Arts in 2000 and a Living Jazz Legend by the John F. Kennedy Center for the Performing Arts in 2007.
Mr. Baker’s laurels are all the more noteworthy in that he had been forced to reinvent his musical career three times: first when he was barred from making his way as a classical trombonist because of his race; second when, as a jazzman, he had to forsake the trombone after a devastating jaw injury; and third when he was driven from a teaching job because he had married a white woman.
David Nathaniel Baker Jr. was born in Indianapolis on Dec. 21, 1931. A gifted classical and jazz trombonist as a youth, he graduated from Crispus Attucks High School, then a segregated institution for blacks in Indianapolis.
As a teenager — “From the time I was able to draw a mustache on with an eyebrow pencil and pray it didn’t rain,” as he later said — he haunted the city’s thriving jazz clubs.
After studying at the Arthur Jordan Conservatory of Music in Indianapolis, he received a bachelor’s degree in music education from Indiana University in 1953. He earned a master’s in the field there the next year.
Afterward, he hoped to make a career as a symphony musician. But as he discovered when he auditioned for the Indianapolis Symphony in the 1950s, few orchestras were open to him.
“He was told, ‘You’re probably the best one we’ve heard, but we can’t employ you because of your color,’” Monika Herzig, a jazz pianist and the author of “David Baker: A Legacy in Music” (2011), said in a telephone interview on Monday.
He continued his jazz career, over time playing with Mr. Russell’s sextet and Mr. Jones’s big band.
Continue reading the main story
But in 1953, as Mr. Baker was returning from a gig in northern Indiana, the car in which he was riding was struck head-on by another. Asleep in the front passenger seat, he was thrown through the windshield and suffered severe injuries, including a broken shoulder.
It was some time, Ms. Herzig recounted on Monday, before Mr. Baker’s companions could find a hospital that would admit a black patient. And even when they did, the hospital failed to take note of a crucial injury.
“They didn’t diagnose that his jaw was broken,” she said. “So he kept playing on this barely grown-back-together bone.”
Mr. Baker was able to continue playing until the early 1960s. But soon afterward, a chronic facial tremor resulting from the injury put an end to his life as a trombonist.
He switched to the cello, on which he became skilled enough to perform with his own group, David Baker’s 21st Century Bebop Band.
Mr. Baker had joined the faculty of Lincoln University in Jefferson City, Mo., in the mid-1950s. A historically black institution, the university had begun to admit white students in the wake of the Supreme Court’s ruling in Brown v. Board of Education, the landmark desegregation case of 1954.
But in 1957, he was fired after he married Eugenia Jones, a white opera singer, in Chicago: Anti-miscegenation laws were then in force in Missouri.
Mr. Baker taught privately before joining Indiana — where he was the only African-American faculty member in the music department — in 1966. There, he was asked to inaugurate a program in jazz, a taboo subject in universities at the time.
Continue reading the main story
“It was not the thing to do,” Ms. Herzig said. “When he went to school — at any of the colleges — they were not allowed to practice jazz in the practice rooms: You could get expelled.”
Little by little, Mr. Baker won his colleagues over, and today, jazz studies at Indiana encompasses the history, composition and performance of the genre. He was the program’s chairman from 1968 to 2013.
Mr. Baker’s first marriage ended in divorce. His survivors include a daughter from that marriage, April Ayers; his second wife, Lida Belt Baker, a flutist; and a granddaughter.
Widely recorded as a composer and performer, he was the author of many books, including “Jazz Styles & Analysis — Trombone: A History of the Jazz Trombone via Recorded Solos” (1973) and “David Baker’s Jazz Pedagogy” (1989).
His compositions include “Jazz Suite for Clarinet and Symphony Orchestra: Three Ethnic Dances”; “Le Chat Qui Pêche,” a work for orchestra, soprano and jazz quartet; a concerto for saxophone and chamber orchestra; and a sonata for tuba and string quartet.
What was very likely his best-known composition originated as a kind of postmodern commentary. Accepting a highly specific commission from the Chicago Sinfonietta (http://www.chicagosinfonietta.org/) , Mr. Baker wrote his Concertino for Cellular Phones and Orchestra.
The work depends vitally on audience members setting off their ringtones — a concert-hall phenomenon normally met with murderous stares and hissed invective — at specified moments in the score.
Writing about the world premiere of the piece in The New York Times (http://www.nytimes.com/2006/10/03/arts/music/03cell.html) in 2006, Daniel J. Wakin said, “It was like an aviary gone mad.”
Continue reading the main story
He added, in what is almost certainly the only known use in this context of adjectives of approbation:
“The orchestra onstage was unfazed. The composer was delighted.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4c35fe940e) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4c35fe940e&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84 – The New York Times
http://www.jazzpromoservices.com/
**
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http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0
** David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84
————————————————————
By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0#story-continues-1) Share This Page
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The performer, composer and educator David Baker. He founded Indiana University’s jazz studies program in 1968. Hugh Talman/National Museum of American History
David Baker, a performer, composer and educator who helped bring jazz studies into the academy at a time when the ivory tower considered the field infra dig, died on Saturday at his home in Bloomington, Ind. He was 84.
His death was announced by the Indiana University Jacobs School of Music, where he was a distinguished professor emeritus.
A trombonist and later a cellist, Mr. Baker founded Indiana’s jazz studies program (http://music.indiana.edu/departments/academic/jazz/) — one of the first of its kind at an American university — in 1968. It remains one of the most respected among the dozens of academic jazz programs now flourishing in the United States.
As a performer, Mr. Baker played in the ensembles of Quincy Jones and George Russell. With Gunther Schuller, he founded the Smithsonian Jazz Masterworks Orchestra (https://smithsonianassociates.org/ticketing/landing/smithsonian-jazz-masterworks-orchestra.aspx) in 1990, serving for many years as its artistic and musical director.
As a composer, he wrote hundreds of pieces, including jazz works and jazz-inflected concert music, for instrumentalists and ensembles including the violinists Josef Gingold (http://www.nytimes.com/1995/01/13/obituaries/josef-gingold-85-violinist-and-influential-teacher-dies.html) and Ruggiero Ricci (http://www.nytimes.com/2012/08/10/arts/music/ruggiero-ricci-virtuoso-violinist-dies-at-94.html) , the cellist Janos Starker (http://www.nytimes.com/2013/04/30/arts/music/janos-starker-master-cellist-dies-at-88.html) , the Beaux Arts Trio, the Audubon String Quartet, the New York Philharmonic (http://nyphil.org/) and the Fisk Jubilee Singers (http://www.fiskjubileesingers.org/) .
Continue reading the main story
For his work, Mr. Baker was named a Jazz Master by the National Endowment for the Arts in 2000 and a Living Jazz Legend by the John F. Kennedy Center for the Performing Arts in 2007.
Mr. Baker’s laurels are all the more noteworthy in that he had been forced to reinvent his musical career three times: first when he was barred from making his way as a classical trombonist because of his race; second when, as a jazzman, he had to forsake the trombone after a devastating jaw injury; and third when he was driven from a teaching job because he had married a white woman.
David Nathaniel Baker Jr. was born in Indianapolis on Dec. 21, 1931. A gifted classical and jazz trombonist as a youth, he graduated from Crispus Attucks High School, then a segregated institution for blacks in Indianapolis.
As a teenager — “From the time I was able to draw a mustache on with an eyebrow pencil and pray it didn’t rain,” as he later said — he haunted the city’s thriving jazz clubs.
After studying at the Arthur Jordan Conservatory of Music in Indianapolis, he received a bachelor’s degree in music education from Indiana University in 1953. He earned a master’s in the field there the next year.
Afterward, he hoped to make a career as a symphony musician. But as he discovered when he auditioned for the Indianapolis Symphony in the 1950s, few orchestras were open to him.
“He was told, ‘You’re probably the best one we’ve heard, but we can’t employ you because of your color,’” Monika Herzig, a jazz pianist and the author of “David Baker: A Legacy in Music” (2011), said in a telephone interview on Monday.
He continued his jazz career, over time playing with Mr. Russell’s sextet and Mr. Jones’s big band.
Continue reading the main story
But in 1953, as Mr. Baker was returning from a gig in northern Indiana, the car in which he was riding was struck head-on by another. Asleep in the front passenger seat, he was thrown through the windshield and suffered severe injuries, including a broken shoulder.
It was some time, Ms. Herzig recounted on Monday, before Mr. Baker’s companions could find a hospital that would admit a black patient. And even when they did, the hospital failed to take note of a crucial injury.
“They didn’t diagnose that his jaw was broken,” she said. “So he kept playing on this barely grown-back-together bone.”
Mr. Baker was able to continue playing until the early 1960s. But soon afterward, a chronic facial tremor resulting from the injury put an end to his life as a trombonist.
He switched to the cello, on which he became skilled enough to perform with his own group, David Baker’s 21st Century Bebop Band.
Mr. Baker had joined the faculty of Lincoln University in Jefferson City, Mo., in the mid-1950s. A historically black institution, the university had begun to admit white students in the wake of the Supreme Court’s ruling in Brown v. Board of Education, the landmark desegregation case of 1954.
But in 1957, he was fired after he married Eugenia Jones, a white opera singer, in Chicago: Anti-miscegenation laws were then in force in Missouri.
Mr. Baker taught privately before joining Indiana — where he was the only African-American faculty member in the music department — in 1966. There, he was asked to inaugurate a program in jazz, a taboo subject in universities at the time.
Continue reading the main story
“It was not the thing to do,” Ms. Herzig said. “When he went to school — at any of the colleges — they were not allowed to practice jazz in the practice rooms: You could get expelled.”
Little by little, Mr. Baker won his colleagues over, and today, jazz studies at Indiana encompasses the history, composition and performance of the genre. He was the program’s chairman from 1968 to 2013.
Mr. Baker’s first marriage ended in divorce. His survivors include a daughter from that marriage, April Ayers; his second wife, Lida Belt Baker, a flutist; and a granddaughter.
Widely recorded as a composer and performer, he was the author of many books, including “Jazz Styles & Analysis — Trombone: A History of the Jazz Trombone via Recorded Solos” (1973) and “David Baker’s Jazz Pedagogy” (1989).
His compositions include “Jazz Suite for Clarinet and Symphony Orchestra: Three Ethnic Dances”; “Le Chat Qui Pêche,” a work for orchestra, soprano and jazz quartet; a concerto for saxophone and chamber orchestra; and a sonata for tuba and string quartet.
What was very likely his best-known composition originated as a kind of postmodern commentary. Accepting a highly specific commission from the Chicago Sinfonietta (http://www.chicagosinfonietta.org/) , Mr. Baker wrote his Concertino for Cellular Phones and Orchestra.
The work depends vitally on audience members setting off their ringtones — a concert-hall phenomenon normally met with murderous stares and hissed invective — at specified moments in the score.
Writing about the world premiere of the piece in The New York Times (http://www.nytimes.com/2006/10/03/arts/music/03cell.html) in 2006, Daniel J. Wakin said, “It was like an aviary gone mad.”
Continue reading the main story
He added, in what is almost certainly the only known use in this context of adjectives of approbation:
“The orchestra onstage was unfazed. The composer was delighted.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4c35fe940e) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4c35fe940e&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84 – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0
** David Baker, Who Helped Bring Jazz Studies Into the Academy, Dies at 84
————————————————————
By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.html?_r=0#story-continues-1) Share This Page
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The performer, composer and educator David Baker. He founded Indiana University’s jazz studies program in 1968. Hugh Talman/National Museum of American History
David Baker, a performer, composer and educator who helped bring jazz studies into the academy at a time when the ivory tower considered the field infra dig, died on Saturday at his home in Bloomington, Ind. He was 84.
His death was announced by the Indiana University Jacobs School of Music, where he was a distinguished professor emeritus.
A trombonist and later a cellist, Mr. Baker founded Indiana’s jazz studies program (http://music.indiana.edu/departments/academic/jazz/) — one of the first of its kind at an American university — in 1968. It remains one of the most respected among the dozens of academic jazz programs now flourishing in the United States.
As a performer, Mr. Baker played in the ensembles of Quincy Jones and George Russell. With Gunther Schuller, he founded the Smithsonian Jazz Masterworks Orchestra (https://smithsonianassociates.org/ticketing/landing/smithsonian-jazz-masterworks-orchestra.aspx) in 1990, serving for many years as its artistic and musical director.
As a composer, he wrote hundreds of pieces, including jazz works and jazz-inflected concert music, for instrumentalists and ensembles including the violinists Josef Gingold (http://www.nytimes.com/1995/01/13/obituaries/josef-gingold-85-violinist-and-influential-teacher-dies.html) and Ruggiero Ricci (http://www.nytimes.com/2012/08/10/arts/music/ruggiero-ricci-virtuoso-violinist-dies-at-94.html) , the cellist Janos Starker (http://www.nytimes.com/2013/04/30/arts/music/janos-starker-master-cellist-dies-at-88.html) , the Beaux Arts Trio, the Audubon String Quartet, the New York Philharmonic (http://nyphil.org/) and the Fisk Jubilee Singers (http://www.fiskjubileesingers.org/) .
Continue reading the main story
For his work, Mr. Baker was named a Jazz Master by the National Endowment for the Arts in 2000 and a Living Jazz Legend by the John F. Kennedy Center for the Performing Arts in 2007.
Mr. Baker’s laurels are all the more noteworthy in that he had been forced to reinvent his musical career three times: first when he was barred from making his way as a classical trombonist because of his race; second when, as a jazzman, he had to forsake the trombone after a devastating jaw injury; and third when he was driven from a teaching job because he had married a white woman.
David Nathaniel Baker Jr. was born in Indianapolis on Dec. 21, 1931. A gifted classical and jazz trombonist as a youth, he graduated from Crispus Attucks High School, then a segregated institution for blacks in Indianapolis.
As a teenager — “From the time I was able to draw a mustache on with an eyebrow pencil and pray it didn’t rain,” as he later said — he haunted the city’s thriving jazz clubs.
After studying at the Arthur Jordan Conservatory of Music in Indianapolis, he received a bachelor’s degree in music education from Indiana University in 1953. He earned a master’s in the field there the next year.
Afterward, he hoped to make a career as a symphony musician. But as he discovered when he auditioned for the Indianapolis Symphony in the 1950s, few orchestras were open to him.
“He was told, ‘You’re probably the best one we’ve heard, but we can’t employ you because of your color,’” Monika Herzig, a jazz pianist and the author of “David Baker: A Legacy in Music” (2011), said in a telephone interview on Monday.
He continued his jazz career, over time playing with Mr. Russell’s sextet and Mr. Jones’s big band.
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But in 1953, as Mr. Baker was returning from a gig in northern Indiana, the car in which he was riding was struck head-on by another. Asleep in the front passenger seat, he was thrown through the windshield and suffered severe injuries, including a broken shoulder.
It was some time, Ms. Herzig recounted on Monday, before Mr. Baker’s companions could find a hospital that would admit a black patient. And even when they did, the hospital failed to take note of a crucial injury.
“They didn’t diagnose that his jaw was broken,” she said. “So he kept playing on this barely grown-back-together bone.”
Mr. Baker was able to continue playing until the early 1960s. But soon afterward, a chronic facial tremor resulting from the injury put an end to his life as a trombonist.
He switched to the cello, on which he became skilled enough to perform with his own group, David Baker’s 21st Century Bebop Band.
Mr. Baker had joined the faculty of Lincoln University in Jefferson City, Mo., in the mid-1950s. A historically black institution, the university had begun to admit white students in the wake of the Supreme Court’s ruling in Brown v. Board of Education, the landmark desegregation case of 1954.
But in 1957, he was fired after he married Eugenia Jones, a white opera singer, in Chicago: Anti-miscegenation laws were then in force in Missouri.
Mr. Baker taught privately before joining Indiana — where he was the only African-American faculty member in the music department — in 1966. There, he was asked to inaugurate a program in jazz, a taboo subject in universities at the time.
Continue reading the main story
“It was not the thing to do,” Ms. Herzig said. “When he went to school — at any of the colleges — they were not allowed to practice jazz in the practice rooms: You could get expelled.”
Little by little, Mr. Baker won his colleagues over, and today, jazz studies at Indiana encompasses the history, composition and performance of the genre. He was the program’s chairman from 1968 to 2013.
Mr. Baker’s first marriage ended in divorce. His survivors include a daughter from that marriage, April Ayers; his second wife, Lida Belt Baker, a flutist; and a granddaughter.
Widely recorded as a composer and performer, he was the author of many books, including “Jazz Styles & Analysis — Trombone: A History of the Jazz Trombone via Recorded Solos” (1973) and “David Baker’s Jazz Pedagogy” (1989).
His compositions include “Jazz Suite for Clarinet and Symphony Orchestra: Three Ethnic Dances”; “Le Chat Qui Pêche,” a work for orchestra, soprano and jazz quartet; a concerto for saxophone and chamber orchestra; and a sonata for tuba and string quartet.
What was very likely his best-known composition originated as a kind of postmodern commentary. Accepting a highly specific commission from the Chicago Sinfonietta (http://www.chicagosinfonietta.org/) , Mr. Baker wrote his Concertino for Cellular Phones and Orchestra.
The work depends vitally on audience members setting off their ringtones — a concert-hall phenomenon normally met with murderous stares and hissed invective — at specified moments in the score.
Writing about the world premiere of the piece in The New York Times (http://www.nytimes.com/2006/10/03/arts/music/03cell.html) in 2006, Daniel J. Wakin said, “It was like an aviary gone mad.”
Continue reading the main story
He added, in what is almost certainly the only known use in this context of adjectives of approbation:
“The orchestra onstage was unfazed. The composer was delighted.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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A Cecil Taylor Retrospective at Whitney Museum – The New York Times
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http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329
** A Cecil Taylor Retrospective at Whitney Museum
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By ANDREW R. CHOWMARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Cecil Taylor will kick off “Open Plan: Cecil Taylor,” which will include concerts, listening sessions, archival videos and more, with a performance on April 14. Chester Higgins Jr./The New York Times
Cecil Taylor is the latest jazz great (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?_r=0) to take over a museum space. The Whitney Museum of American Art (http://whitney.org/) will turn over its fifth floor to his work next month for a 10-day retrospective, “Open Plan: Cecil Taylor,” that will include concerts, listening sessions, archival videos, scores and poetry. Mr. Taylor will kick things off with a mixed music and dance performance with Min Tanaka and Tony Oxley on April 14.
Mr. Taylor (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) , now 87, is primarily known for avant-garde jazz piano but has explored various forms of art throughout his career. The curators Jay Sanders and Lawrence Kumpf wanted the exhibition to reflect all of those interests and show how they play off one another. “We wanted to create a format that celebrates the full breadth of his practice, which is pretty vast and hard to trace,” Mr. Sanders said.
Scheduled performances include the cellist Tristan Honsinger (April 15); the drummer Andrew Cyrille (April 16); the poet Steve Dalachinsky (April 21); Adrienne Kennedy’s one-act play “A Rat’s Mass,” which Mr. Taylor revived in an operatic version in 1976, directed by Hilton Als (April 21); and the saxophonist Jemeel Moondoc (April 22). There will also be documentary screenings of films related to Mr. Taylor, listening sessions of his albums hosted by jazz scholars, and various ephemera.
Mr. Taylor has an extensive history with the Whitney: He played there three times in the 1960s and ’70s. When the Whitney’s new building (http://www.nytimes.com/interactive/2015/04/19/arts/artsspecial/new-whitney-museum.html) was under construction Mr. Taylor took a hard-hat tour. According to Mr. Sanders, Mr. Taylor often practices on a baby grand piano in the museum’s trustee room.
It is unclear whether Mr. Taylor will appear at the exhibition, which runs April 15-24, after the opening concert. “He works live, so things can switch in the moment,” Mr. Sanders said. More information can be found at whitney.org/Exhibitions/OpenPlanCecilTaylor.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Warwick, Ny 10990
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A Cecil Taylor Retrospective at Whitney Museum – The New York Times
http://www.jazzpromoservices.com/
**
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http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329
** A Cecil Taylor Retrospective at Whitney Museum
————————————————————
By ANDREW R. CHOWMARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Cecil Taylor will kick off “Open Plan: Cecil Taylor,” which will include concerts, listening sessions, archival videos and more, with a performance on April 14. Chester Higgins Jr./The New York Times
Cecil Taylor is the latest jazz great (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?_r=0) to take over a museum space. The Whitney Museum of American Art (http://whitney.org/) will turn over its fifth floor to his work next month for a 10-day retrospective, “Open Plan: Cecil Taylor,” that will include concerts, listening sessions, archival videos, scores and poetry. Mr. Taylor will kick things off with a mixed music and dance performance with Min Tanaka and Tony Oxley on April 14.
Mr. Taylor (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) , now 87, is primarily known for avant-garde jazz piano but has explored various forms of art throughout his career. The curators Jay Sanders and Lawrence Kumpf wanted the exhibition to reflect all of those interests and show how they play off one another. “We wanted to create a format that celebrates the full breadth of his practice, which is pretty vast and hard to trace,” Mr. Sanders said.
Scheduled performances include the cellist Tristan Honsinger (April 15); the drummer Andrew Cyrille (April 16); the poet Steve Dalachinsky (April 21); Adrienne Kennedy’s one-act play “A Rat’s Mass,” which Mr. Taylor revived in an operatic version in 1976, directed by Hilton Als (April 21); and the saxophonist Jemeel Moondoc (April 22). There will also be documentary screenings of films related to Mr. Taylor, listening sessions of his albums hosted by jazz scholars, and various ephemera.
Mr. Taylor has an extensive history with the Whitney: He played there three times in the 1960s and ’70s. When the Whitney’s new building (http://www.nytimes.com/interactive/2015/04/19/arts/artsspecial/new-whitney-museum.html) was under construction Mr. Taylor took a hard-hat tour. According to Mr. Sanders, Mr. Taylor often practices on a baby grand piano in the museum’s trustee room.
It is unclear whether Mr. Taylor will appear at the exhibition, which runs April 15-24, after the opening concert. “He works live, so things can switch in the moment,” Mr. Sanders said. More information can be found at whitney.org/Exhibitions/OpenPlanCecilTaylor.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A Cecil Taylor Retrospective at Whitney Museum – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329
** A Cecil Taylor Retrospective at Whitney Museum
————————————————————
By ANDREW R. CHOWMARCH 29, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/30/arts/music/a-cecil-taylor-retrospective-at-whitney-museum.html?emc=edit_tnt_20160329&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Cecil Taylor will kick off “Open Plan: Cecil Taylor,” which will include concerts, listening sessions, archival videos and more, with a performance on April 14. Chester Higgins Jr./The New York Times
Cecil Taylor is the latest jazz great (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?_r=0) to take over a museum space. The Whitney Museum of American Art (http://whitney.org/) will turn over its fifth floor to his work next month for a 10-day retrospective, “Open Plan: Cecil Taylor,” that will include concerts, listening sessions, archival videos, scores and poetry. Mr. Taylor will kick things off with a mixed music and dance performance with Min Tanaka and Tony Oxley on April 14.
Mr. Taylor (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) , now 87, is primarily known for avant-garde jazz piano but has explored various forms of art throughout his career. The curators Jay Sanders and Lawrence Kumpf wanted the exhibition to reflect all of those interests and show how they play off one another. “We wanted to create a format that celebrates the full breadth of his practice, which is pretty vast and hard to trace,” Mr. Sanders said.
Scheduled performances include the cellist Tristan Honsinger (April 15); the drummer Andrew Cyrille (April 16); the poet Steve Dalachinsky (April 21); Adrienne Kennedy’s one-act play “A Rat’s Mass,” which Mr. Taylor revived in an operatic version in 1976, directed by Hilton Als (April 21); and the saxophonist Jemeel Moondoc (April 22). There will also be documentary screenings of films related to Mr. Taylor, listening sessions of his albums hosted by jazz scholars, and various ephemera.
Mr. Taylor has an extensive history with the Whitney: He played there three times in the 1960s and ’70s. When the Whitney’s new building (http://www.nytimes.com/interactive/2015/04/19/arts/artsspecial/new-whitney-museum.html) was under construction Mr. Taylor took a hard-hat tour. According to Mr. Sanders, Mr. Taylor often practices on a baby grand piano in the museum’s trustee room.
It is unclear whether Mr. Taylor will appear at the exhibition, which runs April 15-24, after the opening concert. “He works live, so things can switch in the moment,” Mr. Sanders said. More information can be found at whitney.org/Exhibitions/OpenPlanCecilTaylor.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE: Jazz at Saint Peter’s: April 2016
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APR.
2016 ISSUE
No. 1
UPCOMING JAZZ
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
Though we have a LOT of great music in April, the highlight has to be Junior Mance at Midday Jazz Midtown on April 13. The great pianist has said that this will be his LAST PUBLIC PERFORMANCE. Don’t miss it! Another giant of jazz piano, Barry Harris, brings his trio to Midday Jazz Midtown on April 27. Visit saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpk_U2ssMjuD_S59u71O7ZrWitzYcGgyBT2P-XhS_HehrHmfjoQtgIApFnWQcvqZ3VEnl0hO8dUoPQCAe4vJnVoybaac90PibnaXPsqjV9nKH_HP_zdAp__oq7hr-sONxiaxfW5p9uMITJjIpPaR3EiM7Y_2n_kdrOA==&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==) for all jazz listings. (Pictured: Magos Herrera at Jazz Vespers, March 13.)
MIDDAY JAZZ MIDTOWN
Hour-long jazz concerts | Wednesdays at 1:00 p.m.
MARCH 30: Russ Kassoff Big Band
APRIL 6: Lou Caputo Not-So-Big-Band
APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE
APRIL 20: Stan Rubin’s Tigertown Five featuring Barry Bryson
APRIL 27: Barry Harris Trio
JAZZ VESPERS
Jazz + Prayer | Sundays at 5:00 p.m.
APRIL 3: Birgitta Flick Quartet
APRIL 10: Roosevelt Andre Credit & Choir
APRIL 17: Emilio Teubal Quartet
APRIL 24: Giuseppe de Gregorio Quartet
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
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Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
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APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE: Jazz at Saint Peter’s: April 2016
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APR.
2016 ISSUE
No. 1
UPCOMING JAZZ
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
Though we have a LOT of great music in April, the highlight has to be Junior Mance at Midday Jazz Midtown on April 13. The great pianist has said that this will be his LAST PUBLIC PERFORMANCE. Don’t miss it! Another giant of jazz piano, Barry Harris, brings his trio to Midday Jazz Midtown on April 27. Visit saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpk_U2ssMjuD_S59u71O7ZrWitzYcGgyBT2P-XhS_HehrHmfjoQtgIApFnWQcvqZ3VEnl0hO8dUoPQCAe4vJnVoybaac90PibnaXPsqjV9nKH_HP_zdAp__oq7hr-sONxiaxfW5p9uMITJjIpPaR3EiM7Y_2n_kdrOA==&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==) for all jazz listings. (Pictured: Magos Herrera at Jazz Vespers, March 13.)
MIDDAY JAZZ MIDTOWN
Hour-long jazz concerts | Wednesdays at 1:00 p.m.
MARCH 30: Russ Kassoff Big Band
APRIL 6: Lou Caputo Not-So-Big-Band
APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE
APRIL 20: Stan Rubin’s Tigertown Five featuring Barry Bryson
APRIL 27: Barry Harris Trio
JAZZ VESPERS
Jazz + Prayer | Sundays at 5:00 p.m.
APRIL 3: Birgitta Flick Quartet
APRIL 10: Roosevelt Andre Credit & Choir
APRIL 17: Emilio Teubal Quartet
APRIL 24: Giuseppe de Gregorio Quartet
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
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Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
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Warwick, Ny 10990
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APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE: Jazz at Saint Peter’s: April 2016
http://www.jazzpromoservices.com/
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APR.
2016 ISSUE
No. 1
UPCOMING JAZZ
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
Though we have a LOT of great music in April, the highlight has to be Junior Mance at Midday Jazz Midtown on April 13. The great pianist has said that this will be his LAST PUBLIC PERFORMANCE. Don’t miss it! Another giant of jazz piano, Barry Harris, brings his trio to Midday Jazz Midtown on April 27. Visit saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpk_U2ssMjuD_S59u71O7ZrWitzYcGgyBT2P-XhS_HehrHmfjoQtgIApFnWQcvqZ3VEnl0hO8dUoPQCAe4vJnVoybaac90PibnaXPsqjV9nKH_HP_zdAp__oq7hr-sONxiaxfW5p9uMITJjIpPaR3EiM7Y_2n_kdrOA==&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==) for all jazz listings. (Pictured: Magos Herrera at Jazz Vespers, March 13.)
MIDDAY JAZZ MIDTOWN
Hour-long jazz concerts | Wednesdays at 1:00 p.m.
MARCH 30: Russ Kassoff Big Band
APRIL 6: Lou Caputo Not-So-Big-Band
APRIL 13: Junior Mance Trio in his LAST PUBLIC PERFORMANCE
APRIL 20: Stan Rubin’s Tigertown Five featuring Barry Bryson
APRIL 27: Barry Harris Trio
JAZZ VESPERS
Jazz + Prayer | Sundays at 5:00 p.m.
APRIL 3: Birgitta Flick Quartet
APRIL 10: Roosevelt Andre Credit & Choir
APRIL 17: Emilio Teubal Quartet
APRIL 24: Giuseppe de Gregorio Quartet
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi
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Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=001N9UZg-IO722Y3O8eW4KW28tXphxmi6gwR2iAIY3HsLm7UaHBfSbNpuhClJYK6WzJiE4cxQ8pLIoVO0kVvV1-VrbCAxJlwe_Ek6OmKG_TOkagYD3N3gRLElQ0-lnPXL6bi6tLmU9-_FWS3Blr67TWgBbtyIsx8RFtGEexnmWF4aU=&c=uUyeXSg_c58g_m33UTctyv3_OBNhJVlnLMVvBZiFv7fEmj0R2pYTIA==&ch=BOUsipZriuObkP4E68ylmv46LYkq5K1rRZZr3EqZDv6fIuFWaUiXBQ==)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
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Warwick, Ny 10990
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Remembering a jazz music revolutionary, Indianapolis’ own David Baker | A Cultural Manifesto | NUVO News | Indianapolis, IN
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**
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http://www.nuvo.net/ACulturalManifesto/archives/2016/03/28/remembering-a-jazz-music-revolutionary-indianapolis-own-david-baker
** Remembering a jazz music revolutionary, Indianapolis’ own David Baker
————————————————————
** By Kyle Long (http://www.nuvo.net/indianapolis/ArticleArchives?author=1318847)
————————————————————
David Baker – COURTESY OF INDIANA UNIVERSITY
* Courtesy of Indiana University
* David Baker
The internationally renowned Indy born and raised jazz legend David Baker passed away this weekend at the age of 84.
This week’s edition of Cultural Manifesto is not a biography of Baker’s life. It’s also not a blow-by-blow account of his discography, or a treatise on Baker’s academic resume.
Instead I’d like to offer some personal commentary on my own appreciation for the late maestro’s work.
A quick glance at most of the David Baker obituaries that have appeared over the last few days might give the impression that Baker was a strict traditionalist tied to the formalism of the academic world he devoted the majority of his life’s work to. Baker founded Indiana University’s jazz studies program in 1966 and maintained his role as a professor at IU until his death this weekend on March 27. I’m not suggesting there’s anything wrong with these conservative remembrances of Baker’s life, however they do vary greatly from my own view of Baker as a genre-pushing music revolutionary who took Naptown jazz from Indiana Avenue to outer space.
RELATED: David Baker riffs on risk (safari-reader://www.nuvo.net/indianapolis/david-baker-riffs-on-risk/Content?oid=2708958)
Baker possessed a profound musical vocabulary. His playing and theorizing challenged jazz orthodoxy from numerous angles. He composed complex pieces in the Western classical idiom that redefined perceptions regarding the artistic value of jazz. But you could also find Baker playing on wildly improvised free jazz sessions that spit in the face of constricting traditionalist definitions of jazz. And all the while, Baker articulated his at-times controversial theory that jazz was essentially a Black art form.
David Baker grew up in the rich musical environment of Indiana Avenue. After graduating from Crispus Attucks High School in 1949 Baker made a name for himself as a gifted trombonist on the Naptown scene. Baker gigged locally with Indianapolis jazz greats including Wes Montgomery before picking up gigs with national acts like the Stan Kenton orchestra. But Baker’s work really took off when he began working with the Cincinnati-born pianist, composer and music theorist George Russell in 1959. Russell’s avant-garde harmonic theories, best outlined in his 1953 book Lydian Chromatic Concept of Tonal Organization, helped propel modal experimentation in jazz and influenced the creation of Miles Davis’ landmark 1959 LP Kind of Blue.
Baker would record six important albums with Russell from 1960 to 1962. His first LP with Russell is my personal favorite of the lot, the fantastic 1960 Decca Records’ release Jazz in the Space Age which features a series of experimental tone poems imagining the sounds of the cosmos.
Russell recorded several Baker compositions during this ’60-’62 period and I think it’s safe to say that Baker’s work with Russell represents his most significant exposure as a jazz instrumentalist and composer.
RELATED: An accounting of Baker’s 80th birthday bash (safari-reader://www.nuvo.net/indianapolis/review-david-baker-80th-birthday-celebration/Content?oid=2406715)
Around this point Baker’s life was interrupted by a potentially career ending setback. A jaw injury sustained during a car accident forced Baker to give up performing on the trombone. Instead of abandoning music altogether, Baker shifted his focus to teaching and began learning to express himself through a new instrument, cello. For me, this is one of the most astounding accomplishments of Baker’s life: his ability to successfully reinvent himself as a musician in mid-career. In fact, Baker seemed to welcome the change. “What I lost in the trombone, I’ve found manifold in teaching and playing jazz on the cello” Baker said in a May, 1970 Ebony magazine profile.
Baker’s first recording as a cellist marks what is perhaps my favorite album in his discography, Charles Tyler’s Eastern Man Alone. The 1967 free jazz LP was recorded in Indianapolis for the legendary experimental music label ESP-Disk. Tyler was a supremely talented Indianapolis saxophonist who’d spent time in the band of the controversial jazz giant Albert Ayler. Tyler and Baker would record again in 1980 for the equally hard-hitting LP Folk and Mystery Stories. Both albums are highly recommended for a sampling of Baker’s work as a jazz cellist.
click to enlargehttp://media1.fdncms.com/nuvo/imager/u/original/3888552/bakerdavidjazzweb.jpg
* Courtesy of Indiana University
* David Baker
Baker insisted that jazz be recognized as a distinctly Black art form. While that might not sound controversial today, this assertion challenged the dominant established narrative when Baker entered into the academic world. Racial bias from white authors elevated the contributions of musicians like Paul Whiteman and Benny Goodman above those of their pioneering Black counterparts.
RELATED: Talking to Monika Herzig about her Bach Meets Baker program (safari-reader://www.nuvo.net/indianapolis/bach-meets-baker-meets-indy/Content?oid=3511200)
And racism was an obstacle throughout Baker’s life. According to David Williams’ 2014 book Indianapolis Jazz, Baker was kicked out of Indy’s Jordan Conservatory of Music in 1949 for dancing with a white girl at a Christmas party. Williams also notes that when Baker enrolled at IU in 1950 he couldn’t live on campus and was refused basic services around downtown Bloomington.
For me, Baker’s views on race and jazz are best encapsulated in this quote from Ebony magazine’s May 1970 profile of Baker. (It’s interesting to note that the essence of Baker’s statement here could still be applied to contemporary conversations on white appropriation of hip-hop culture.)
“Jazz is a Black music,” Baker remarked. “Its content mirrors the Black experience. Many whites like the music and make money from it but they don’t want to share or acknowledge the experience form which it emanates. This is exploitation. We make the music. They imitate it and make the money. Because we are so regularly imitated and exploited, we are forced to invent new vocabularies in order to keep our language of music vital, authentic and safe within the vault of Black culture.”
Beyond his work as a musician and theorist, I think it’s also worth taking a moment here to note Baker’s academic appearance. Photos from the 1970s show Professor Baker on campus sporting stylish dashikis and a massive afro. While Baker’s choice of attire was certainly a reflection of period Black fashion trends, it also reflected Baker’s desire to challenge the enforced dominance of white European standards.
While I do appreciate all the obituaries celebrating Baker as a grandfatherly academic, I wanted to offer a contrasting perspective on his legacy. While Baker’s classic early recordings with musicians like George Russell may not sound revolutionary to contemporary young audiences, in their time these discs hit with the same artistic urgency and freshness one would associate with the latest Flying Lotus release today. And it’s my opinion that Baker’s work is best appreciated when viewed from this perspective.
Rest in peace David Baker, one of Indiana’s greatest music revolutionaries.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=659e30c309) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=659e30c309&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Remembering a jazz music revolutionary, Indianapolis’ own David Baker | A Cultural Manifesto | NUVO News | Indianapolis, IN
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nuvo.net/ACulturalManifesto/archives/2016/03/28/remembering-a-jazz-music-revolutionary-indianapolis-own-david-baker
** Remembering a jazz music revolutionary, Indianapolis’ own David Baker
————————————————————
** By Kyle Long (http://www.nuvo.net/indianapolis/ArticleArchives?author=1318847)
————————————————————
David Baker – COURTESY OF INDIANA UNIVERSITY
* Courtesy of Indiana University
* David Baker
The internationally renowned Indy born and raised jazz legend David Baker passed away this weekend at the age of 84.
This week’s edition of Cultural Manifesto is not a biography of Baker’s life. It’s also not a blow-by-blow account of his discography, or a treatise on Baker’s academic resume.
Instead I’d like to offer some personal commentary on my own appreciation for the late maestro’s work.
A quick glance at most of the David Baker obituaries that have appeared over the last few days might give the impression that Baker was a strict traditionalist tied to the formalism of the academic world he devoted the majority of his life’s work to. Baker founded Indiana University’s jazz studies program in 1966 and maintained his role as a professor at IU until his death this weekend on March 27. I’m not suggesting there’s anything wrong with these conservative remembrances of Baker’s life, however they do vary greatly from my own view of Baker as a genre-pushing music revolutionary who took Naptown jazz from Indiana Avenue to outer space.
RELATED: David Baker riffs on risk (safari-reader://www.nuvo.net/indianapolis/david-baker-riffs-on-risk/Content?oid=2708958)
Baker possessed a profound musical vocabulary. His playing and theorizing challenged jazz orthodoxy from numerous angles. He composed complex pieces in the Western classical idiom that redefined perceptions regarding the artistic value of jazz. But you could also find Baker playing on wildly improvised free jazz sessions that spit in the face of constricting traditionalist definitions of jazz. And all the while, Baker articulated his at-times controversial theory that jazz was essentially a Black art form.
David Baker grew up in the rich musical environment of Indiana Avenue. After graduating from Crispus Attucks High School in 1949 Baker made a name for himself as a gifted trombonist on the Naptown scene. Baker gigged locally with Indianapolis jazz greats including Wes Montgomery before picking up gigs with national acts like the Stan Kenton orchestra. But Baker’s work really took off when he began working with the Cincinnati-born pianist, composer and music theorist George Russell in 1959. Russell’s avant-garde harmonic theories, best outlined in his 1953 book Lydian Chromatic Concept of Tonal Organization, helped propel modal experimentation in jazz and influenced the creation of Miles Davis’ landmark 1959 LP Kind of Blue.
Baker would record six important albums with Russell from 1960 to 1962. His first LP with Russell is my personal favorite of the lot, the fantastic 1960 Decca Records’ release Jazz in the Space Age which features a series of experimental tone poems imagining the sounds of the cosmos.
Russell recorded several Baker compositions during this ’60-’62 period and I think it’s safe to say that Baker’s work with Russell represents his most significant exposure as a jazz instrumentalist and composer.
RELATED: An accounting of Baker’s 80th birthday bash (safari-reader://www.nuvo.net/indianapolis/review-david-baker-80th-birthday-celebration/Content?oid=2406715)
Around this point Baker’s life was interrupted by a potentially career ending setback. A jaw injury sustained during a car accident forced Baker to give up performing on the trombone. Instead of abandoning music altogether, Baker shifted his focus to teaching and began learning to express himself through a new instrument, cello. For me, this is one of the most astounding accomplishments of Baker’s life: his ability to successfully reinvent himself as a musician in mid-career. In fact, Baker seemed to welcome the change. “What I lost in the trombone, I’ve found manifold in teaching and playing jazz on the cello” Baker said in a May, 1970 Ebony magazine profile.
Baker’s first recording as a cellist marks what is perhaps my favorite album in his discography, Charles Tyler’s Eastern Man Alone. The 1967 free jazz LP was recorded in Indianapolis for the legendary experimental music label ESP-Disk. Tyler was a supremely talented Indianapolis saxophonist who’d spent time in the band of the controversial jazz giant Albert Ayler. Tyler and Baker would record again in 1980 for the equally hard-hitting LP Folk and Mystery Stories. Both albums are highly recommended for a sampling of Baker’s work as a jazz cellist.
click to enlargehttp://media1.fdncms.com/nuvo/imager/u/original/3888552/bakerdavidjazzweb.jpg
* Courtesy of Indiana University
* David Baker
Baker insisted that jazz be recognized as a distinctly Black art form. While that might not sound controversial today, this assertion challenged the dominant established narrative when Baker entered into the academic world. Racial bias from white authors elevated the contributions of musicians like Paul Whiteman and Benny Goodman above those of their pioneering Black counterparts.
RELATED: Talking to Monika Herzig about her Bach Meets Baker program (safari-reader://www.nuvo.net/indianapolis/bach-meets-baker-meets-indy/Content?oid=3511200)
And racism was an obstacle throughout Baker’s life. According to David Williams’ 2014 book Indianapolis Jazz, Baker was kicked out of Indy’s Jordan Conservatory of Music in 1949 for dancing with a white girl at a Christmas party. Williams also notes that when Baker enrolled at IU in 1950 he couldn’t live on campus and was refused basic services around downtown Bloomington.
For me, Baker’s views on race and jazz are best encapsulated in this quote from Ebony magazine’s May 1970 profile of Baker. (It’s interesting to note that the essence of Baker’s statement here could still be applied to contemporary conversations on white appropriation of hip-hop culture.)
“Jazz is a Black music,” Baker remarked. “Its content mirrors the Black experience. Many whites like the music and make money from it but they don’t want to share or acknowledge the experience form which it emanates. This is exploitation. We make the music. They imitate it and make the money. Because we are so regularly imitated and exploited, we are forced to invent new vocabularies in order to keep our language of music vital, authentic and safe within the vault of Black culture.”
Beyond his work as a musician and theorist, I think it’s also worth taking a moment here to note Baker’s academic appearance. Photos from the 1970s show Professor Baker on campus sporting stylish dashikis and a massive afro. While Baker’s choice of attire was certainly a reflection of period Black fashion trends, it also reflected Baker’s desire to challenge the enforced dominance of white European standards.
While I do appreciate all the obituaries celebrating Baker as a grandfatherly academic, I wanted to offer a contrasting perspective on his legacy. While Baker’s classic early recordings with musicians like George Russell may not sound revolutionary to contemporary young audiences, in their time these discs hit with the same artistic urgency and freshness one would associate with the latest Flying Lotus release today. And it’s my opinion that Baker’s work is best appreciated when viewed from this perspective.
Rest in peace David Baker, one of Indiana’s greatest music revolutionaries.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=659e30c309) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=659e30c309&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Remembering a jazz music revolutionary, Indianapolis’ own David Baker | A Cultural Manifesto | NUVO News | Indianapolis, IN
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nuvo.net/ACulturalManifesto/archives/2016/03/28/remembering-a-jazz-music-revolutionary-indianapolis-own-david-baker
** Remembering a jazz music revolutionary, Indianapolis’ own David Baker
————————————————————
** By Kyle Long (http://www.nuvo.net/indianapolis/ArticleArchives?author=1318847)
————————————————————
David Baker – COURTESY OF INDIANA UNIVERSITY
* Courtesy of Indiana University
* David Baker
The internationally renowned Indy born and raised jazz legend David Baker passed away this weekend at the age of 84.
This week’s edition of Cultural Manifesto is not a biography of Baker’s life. It’s also not a blow-by-blow account of his discography, or a treatise on Baker’s academic resume.
Instead I’d like to offer some personal commentary on my own appreciation for the late maestro’s work.
A quick glance at most of the David Baker obituaries that have appeared over the last few days might give the impression that Baker was a strict traditionalist tied to the formalism of the academic world he devoted the majority of his life’s work to. Baker founded Indiana University’s jazz studies program in 1966 and maintained his role as a professor at IU until his death this weekend on March 27. I’m not suggesting there’s anything wrong with these conservative remembrances of Baker’s life, however they do vary greatly from my own view of Baker as a genre-pushing music revolutionary who took Naptown jazz from Indiana Avenue to outer space.
RELATED: David Baker riffs on risk (safari-reader://www.nuvo.net/indianapolis/david-baker-riffs-on-risk/Content?oid=2708958)
Baker possessed a profound musical vocabulary. His playing and theorizing challenged jazz orthodoxy from numerous angles. He composed complex pieces in the Western classical idiom that redefined perceptions regarding the artistic value of jazz. But you could also find Baker playing on wildly improvised free jazz sessions that spit in the face of constricting traditionalist definitions of jazz. And all the while, Baker articulated his at-times controversial theory that jazz was essentially a Black art form.
David Baker grew up in the rich musical environment of Indiana Avenue. After graduating from Crispus Attucks High School in 1949 Baker made a name for himself as a gifted trombonist on the Naptown scene. Baker gigged locally with Indianapolis jazz greats including Wes Montgomery before picking up gigs with national acts like the Stan Kenton orchestra. But Baker’s work really took off when he began working with the Cincinnati-born pianist, composer and music theorist George Russell in 1959. Russell’s avant-garde harmonic theories, best outlined in his 1953 book Lydian Chromatic Concept of Tonal Organization, helped propel modal experimentation in jazz and influenced the creation of Miles Davis’ landmark 1959 LP Kind of Blue.
Baker would record six important albums with Russell from 1960 to 1962. His first LP with Russell is my personal favorite of the lot, the fantastic 1960 Decca Records’ release Jazz in the Space Age which features a series of experimental tone poems imagining the sounds of the cosmos.
Russell recorded several Baker compositions during this ’60-’62 period and I think it’s safe to say that Baker’s work with Russell represents his most significant exposure as a jazz instrumentalist and composer.
RELATED: An accounting of Baker’s 80th birthday bash (safari-reader://www.nuvo.net/indianapolis/review-david-baker-80th-birthday-celebration/Content?oid=2406715)
Around this point Baker’s life was interrupted by a potentially career ending setback. A jaw injury sustained during a car accident forced Baker to give up performing on the trombone. Instead of abandoning music altogether, Baker shifted his focus to teaching and began learning to express himself through a new instrument, cello. For me, this is one of the most astounding accomplishments of Baker’s life: his ability to successfully reinvent himself as a musician in mid-career. In fact, Baker seemed to welcome the change. “What I lost in the trombone, I’ve found manifold in teaching and playing jazz on the cello” Baker said in a May, 1970 Ebony magazine profile.
Baker’s first recording as a cellist marks what is perhaps my favorite album in his discography, Charles Tyler’s Eastern Man Alone. The 1967 free jazz LP was recorded in Indianapolis for the legendary experimental music label ESP-Disk. Tyler was a supremely talented Indianapolis saxophonist who’d spent time in the band of the controversial jazz giant Albert Ayler. Tyler and Baker would record again in 1980 for the equally hard-hitting LP Folk and Mystery Stories. Both albums are highly recommended for a sampling of Baker’s work as a jazz cellist.
click to enlargehttp://media1.fdncms.com/nuvo/imager/u/original/3888552/bakerdavidjazzweb.jpg
* Courtesy of Indiana University
* David Baker
Baker insisted that jazz be recognized as a distinctly Black art form. While that might not sound controversial today, this assertion challenged the dominant established narrative when Baker entered into the academic world. Racial bias from white authors elevated the contributions of musicians like Paul Whiteman and Benny Goodman above those of their pioneering Black counterparts.
RELATED: Talking to Monika Herzig about her Bach Meets Baker program (safari-reader://www.nuvo.net/indianapolis/bach-meets-baker-meets-indy/Content?oid=3511200)
And racism was an obstacle throughout Baker’s life. According to David Williams’ 2014 book Indianapolis Jazz, Baker was kicked out of Indy’s Jordan Conservatory of Music in 1949 for dancing with a white girl at a Christmas party. Williams also notes that when Baker enrolled at IU in 1950 he couldn’t live on campus and was refused basic services around downtown Bloomington.
For me, Baker’s views on race and jazz are best encapsulated in this quote from Ebony magazine’s May 1970 profile of Baker. (It’s interesting to note that the essence of Baker’s statement here could still be applied to contemporary conversations on white appropriation of hip-hop culture.)
“Jazz is a Black music,” Baker remarked. “Its content mirrors the Black experience. Many whites like the music and make money from it but they don’t want to share or acknowledge the experience form which it emanates. This is exploitation. We make the music. They imitate it and make the money. Because we are so regularly imitated and exploited, we are forced to invent new vocabularies in order to keep our language of music vital, authentic and safe within the vault of Black culture.”
Beyond his work as a musician and theorist, I think it’s also worth taking a moment here to note Baker’s academic appearance. Photos from the 1970s show Professor Baker on campus sporting stylish dashikis and a massive afro. While Baker’s choice of attire was certainly a reflection of period Black fashion trends, it also reflected Baker’s desire to challenge the enforced dominance of white European standards.
While I do appreciate all the obituaries celebrating Baker as a grandfatherly academic, I wanted to offer a contrasting perspective on his legacy. While Baker’s classic early recordings with musicians like George Russell may not sound revolutionary to contemporary young audiences, in their time these discs hit with the same artistic urgency and freshness one would associate with the latest Flying Lotus release today. And it’s my opinion that Baker’s work is best appreciated when viewed from this perspective.
Rest in peace David Baker, one of Indiana’s greatest music revolutionaries.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=659e30c309) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=659e30c309&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Central Ave Oral History Project
http://www.jazzpromoservices.com/
**
————————————————————
http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz000905zz&title=Central%20Avenue%20Sounds%20Oral%20History%20Project
Central Avenue Sounds Oral History Project
Interviews in this series preserve the spoken memories of individuals, mainly musicians, who were raised near and/or performed on Los Angeles’s Central Avenue from the late 1920s to the mid-1950s.
Interviews under this Series
Andrews, Ernie (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmnq&title=Andrews,%20Ernie)
Bernal, Gil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z17&title=Bernal,%20Gil)
Bihari, Joseph (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs6d&title=Bihari,%20Joseph)
Bloch, Rene (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrm4&title=Bloch,%20Rene)
Brooks, Hadda (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zsmm&title=Brooks,%20Hadda)
Bryant, Clora (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znc2&title=Bryant,%20Clora)
Bryant, David (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq0b&title=Bryant,%20David)
Collette, Buddy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmwb&title=Collette,%20Buddy)
Douglass, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmb2&title=Douglass,%20William)
Ewing, John (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqdj&title=Ewing,%20John)
Farmer, Art (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpb1&title=Farmer,%20Art)
Green, William Ernest (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znf3&title=Green,%20William%20Ernest)
Hurte, Leroy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrp5&title=Hurte,%20Leroy)
Jackson, Harold (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001hfx7d&title=Jackson,%20Harold)
Kelso, Jackie (Kelson, John) (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zn0c&title=Kelso,%20Jackie%20(Kelson,%20John))
Leon, Ruben (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z9c&title=Leon,%20Ruben)
Liston, Melba (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqzt&title=Liston,%20Melba)
Lopez, Paul R. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zcd&title=Lopez,%20Paul%20R.)
Marable, Larance (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zbw&title=Marable,%20Larance)
McNeely, Cecil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmg4&title=McNeely,%20Cecil)
Morgan, Frank (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqmn&title=Morgan,%20Frank)
Ortega, Anthony (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrg2&title=Ortega,%20Anthony)
Redd, Vi (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001cb3zp&title=Redd,%20Vi)
Robinson, Minor (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs2b&title=Robinson,%20Minor)
Royal, Marshal (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq6f&title=Royal,%20Marshal)
Smith, Fletcher (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp80&title=Smith,%20Fletcher)
Solomon, Clifford (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zdx&title=Solomon,%20Clifford)
Tapscott, Horace (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr0t&title=Tapscott,%20Horace)
Tolbert, James (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097znj&title=Tolbert,%20James)
Wiggins, Gerald (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmvt&title=Wiggins,%20Gerald)
Wilson, Gerald S. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp6z&title=Wilson,%20Gerald%20S.)
Woodman, Britt (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpd2&title=Woodman,%20Britt)
Woodman, Coney (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqx9&title=Woodman,%20Coney)
Woodman, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zm81&title=Woodman,%20William)
Young, Lee (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr3c&title=Young,%20Lee)
Young, Marl (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqbh&title=Young,%20Marl)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4a3f803053) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4a3f803053&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Central Ave Oral History Project
http://www.jazzpromoservices.com/
**
————————————————————
http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz000905zz&title=Central%20Avenue%20Sounds%20Oral%20History%20Project
Central Avenue Sounds Oral History Project
Interviews in this series preserve the spoken memories of individuals, mainly musicians, who were raised near and/or performed on Los Angeles’s Central Avenue from the late 1920s to the mid-1950s.
Interviews under this Series
Andrews, Ernie (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmnq&title=Andrews,%20Ernie)
Bernal, Gil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z17&title=Bernal,%20Gil)
Bihari, Joseph (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs6d&title=Bihari,%20Joseph)
Bloch, Rene (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrm4&title=Bloch,%20Rene)
Brooks, Hadda (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zsmm&title=Brooks,%20Hadda)
Bryant, Clora (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znc2&title=Bryant,%20Clora)
Bryant, David (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq0b&title=Bryant,%20David)
Collette, Buddy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmwb&title=Collette,%20Buddy)
Douglass, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmb2&title=Douglass,%20William)
Ewing, John (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqdj&title=Ewing,%20John)
Farmer, Art (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpb1&title=Farmer,%20Art)
Green, William Ernest (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znf3&title=Green,%20William%20Ernest)
Hurte, Leroy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrp5&title=Hurte,%20Leroy)
Jackson, Harold (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001hfx7d&title=Jackson,%20Harold)
Kelso, Jackie (Kelson, John) (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zn0c&title=Kelso,%20Jackie%20(Kelson,%20John))
Leon, Ruben (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z9c&title=Leon,%20Ruben)
Liston, Melba (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqzt&title=Liston,%20Melba)
Lopez, Paul R. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zcd&title=Lopez,%20Paul%20R.)
Marable, Larance (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zbw&title=Marable,%20Larance)
McNeely, Cecil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmg4&title=McNeely,%20Cecil)
Morgan, Frank (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqmn&title=Morgan,%20Frank)
Ortega, Anthony (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrg2&title=Ortega,%20Anthony)
Redd, Vi (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001cb3zp&title=Redd,%20Vi)
Robinson, Minor (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs2b&title=Robinson,%20Minor)
Royal, Marshal (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq6f&title=Royal,%20Marshal)
Smith, Fletcher (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp80&title=Smith,%20Fletcher)
Solomon, Clifford (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zdx&title=Solomon,%20Clifford)
Tapscott, Horace (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr0t&title=Tapscott,%20Horace)
Tolbert, James (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097znj&title=Tolbert,%20James)
Wiggins, Gerald (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmvt&title=Wiggins,%20Gerald)
Wilson, Gerald S. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp6z&title=Wilson,%20Gerald%20S.)
Woodman, Britt (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpd2&title=Woodman,%20Britt)
Woodman, Coney (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqx9&title=Woodman,%20Coney)
Woodman, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zm81&title=Woodman,%20William)
Young, Lee (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr3c&title=Young,%20Lee)
Young, Marl (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqbh&title=Young,%20Marl)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Central Ave Oral History Project
http://www.jazzpromoservices.com/
**
————————————————————
http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz000905zz&title=Central%20Avenue%20Sounds%20Oral%20History%20Project
Central Avenue Sounds Oral History Project
Interviews in this series preserve the spoken memories of individuals, mainly musicians, who were raised near and/or performed on Los Angeles’s Central Avenue from the late 1920s to the mid-1950s.
Interviews under this Series
Andrews, Ernie (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmnq&title=Andrews,%20Ernie)
Bernal, Gil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z17&title=Bernal,%20Gil)
Bihari, Joseph (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs6d&title=Bihari,%20Joseph)
Bloch, Rene (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrm4&title=Bloch,%20Rene)
Brooks, Hadda (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zsmm&title=Brooks,%20Hadda)
Bryant, Clora (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znc2&title=Bryant,%20Clora)
Bryant, David (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq0b&title=Bryant,%20David)
Collette, Buddy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmwb&title=Collette,%20Buddy)
Douglass, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmb2&title=Douglass,%20William)
Ewing, John (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqdj&title=Ewing,%20John)
Farmer, Art (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpb1&title=Farmer,%20Art)
Green, William Ernest (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008znf3&title=Green,%20William%20Ernest)
Hurte, Leroy (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrp5&title=Hurte,%20Leroy)
Jackson, Harold (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001hfx7d&title=Jackson,%20Harold)
Kelso, Jackie (Kelson, John) (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zn0c&title=Kelso,%20Jackie%20(Kelson,%20John))
Leon, Ruben (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097z9c&title=Leon,%20Ruben)
Liston, Melba (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqzt&title=Liston,%20Melba)
Lopez, Paul R. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zcd&title=Lopez,%20Paul%20R.)
Marable, Larance (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zbw&title=Marable,%20Larance)
McNeely, Cecil (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmg4&title=McNeely,%20Cecil)
Morgan, Frank (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqmn&title=Morgan,%20Frank)
Ortega, Anthony (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zrg2&title=Ortega,%20Anthony)
Redd, Vi (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz001cb3zp&title=Redd,%20Vi)
Robinson, Minor (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zs2b&title=Robinson,%20Minor)
Royal, Marshal (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zq6f&title=Royal,%20Marshal)
Smith, Fletcher (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp80&title=Smith,%20Fletcher)
Solomon, Clifford (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097zdx&title=Solomon,%20Clifford)
Tapscott, Horace (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr0t&title=Tapscott,%20Horace)
Tolbert, James (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz00097znj&title=Tolbert,%20James)
Wiggins, Gerald (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zmvt&title=Wiggins,%20Gerald)
Wilson, Gerald S. (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zp6z&title=Wilson,%20Gerald%20S.)
Woodman, Britt (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zpd2&title=Woodman,%20Britt)
Woodman, Coney (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqx9&title=Woodman,%20Coney)
Woodman, William (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zm81&title=Woodman,%20William)
Young, Lee (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zr3c&title=Young,%20Lee)
Young, Marl (http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz0008zqbh&title=Young,%20Marl)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
No Matter How Many Records I Get I’m Never Satisfied
http://www.jazzpromoservices.com/
**
————————————————————
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=413052f16b) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=413052f16b&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
No Matter How Many Records I Get I’m Never Satisfied
http://www.jazzpromoservices.com/
**
————————————————————
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=413052f16b) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=413052f16b&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
No Matter How Many Records I Get I’m Never Satisfied
http://www.jazzpromoservices.com/
**
————————————————————
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=413052f16b) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=413052f16b&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Apollo Theater Puts on an Opera to Honor Charlie Parker – The Root
http://www.jazzpromoservices.com/
**
————————————————————
http://www.theroot.com/articles/culture/2016/03/the_apollo_theater_puts_on_an_opera_to_honor_charlie_parker.html
** An Opera for a Jazz Virtuoso: The Apollo Theater Honors Charlie Parker
————————————————————
BY: ALLISON KEYES (http://www.theroot.com/authors.allison_keyes.html)
yardbird_001
Tenor Lawrence Brownlee as Charlie Parker in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
The rich, buttery tenor of Lawrence Brownlee soars as if it’s on wings in the opening aria “Birdland.” He is channeling bebop genius Charlie Parker, whose life is at the center of the opera Charlie Parker’s Yardbird (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/) —co-produced by the Apollo Theater and Opera Philadelphia. It is set in New York City’s iconic Birdland jazz club on March 12, 1955—the day Parker died—as his spirit composes his final masterpiece (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/full-synopsis/) .
Coinciding with Parker’s induction into the Walk of Fame at the Apollo on March 30, the opera will make its New York premiere (https://www.apollotheater.org/event/yardbird/) at the theater in Harlem April 1 and April 3. There are also several related events, including a Charlie Parker Harlem Tour and an open dress rehearsal of the opera March 31.
“It’s a great challenge for me,” says Brownlee, whose recording of Virtuoso Rossini Arias (http://www.amazon.com/Lawrence-Brownlee-Virtuoso-Rossini-Arias/dp/B00IN3PPJC) was nominated for a Grammy. The Associated Press has called him “one of the world’s leading bel canto tenors (http://www.lawrencebrownlee.com/about-1/#bio) .” But the man who grew up in the church singing gospel and then joined a band doing madrigals, and later an R&B group, says it’s been a little different to get into the mind and character of this musician known for his bold musical experiments.
“I have to try to be flexible and try and learn the mind and body of a jazz musician,” Brownlee explains. “Charlie Parker was virtuosity. His music, his scales, his soloing, his orientation, was so out of this world. The composer of this transcribed some of the actual solos of Charlie Parker into vocal lines. … To learn a scat language, I listen to some of the great scatters and try and think in the mind of a virtuosity jazz person.”
yardbird_002
Mezzo-soprano Tamara Mumford as Baroness Pannonica “Nica” de Koenigswarter and tenor Lawrence Brownlee in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
Bridgette Wimberly, who wrote the libretto (which is the story the music will tell), had some challenges as well. The composer, Daniel Schnyder, asked her to make sure Parker wrote something new in this opera. So Wimberly read everything about Parker, from biographies written by people who knew and loved him to a letter written by his mother, Addie, about the relationship she had with her son. Parker died at the New York City apartment of his friend and patroness Baroness Pannonica de Koenigswarter, and his body was taken to Bellevue Hospital.
“His soul is in Birdland while his corpse is in Bellevue,” Wimberly says. “The people who knew him were the women in his life. … I couldn’t get into all that music playing; that’s not my world. But I do understand women in love with men.”
Wimberly based her story on those women and on his quest to write a new piece, a big orchestration, a classical masterpiece for 40 instruments instead of a quartet or quintet.
“He visits parts of his life, the people he loved most, for inspiration,” Wimberly explains. “I hope that people get an understanding of Charlie Parker the man, his life and what he did as a musician.”
“His music inspired people all over the world in the way they improvised, in their freedom of expression in music,” says Jimmy Heath (http://www.jimmyheath.com/) , 89, a jazz legend himself who played with Parker. The brilliant composer, arranger and instrumentalist says that Parker and Dizzy Gillespie, along with Thelonious Monk, were the architects of the music known as bebop.
yardbird_024
Tenor Lawrence Brownlee as Charlie Parker sings “My Horn” in the world premiere of the opera Charlie Parker’s Yardbird.
Dominic M. Mercier
“They started a new movement in jazz that had swing still embedded in it but was complex in its improvisation,” Heath says. Parker used Heath’s saxophone during a series of gigs in Philadelphia with Miles Davis, Max Roach, Tommy Potter and Duke Jordan. But Parker used to leave his mouthpiece on Heath’s horn.
“I would take it up … I would say, ‘Charlie Parker played last night and I know he left some of his music in here, but it went right through the horn,’” Heath says, chuckling. “I said I can’t capture it like that, I’ve gotta study it; and that’s what I began to do, and they started calling me Little Bird.”
Heath will be performing at Parker’s Walk of Fame induction, where a plaque will be installed along 125th Street alongside those of other legends, from Louis Armstrong to Michael Jackson.
“We want people to understand Charlie Parker and his relationship with the Apollo,” says Mikki Shepard, the Apollo’s executive producer. “[He] played the Apollo so many times … and did his classical recording (http://www.amazon.com/Bird-Strings-Charlie-Carnegie-Birdland/dp/B004MWTK76) . The first time he performed it was in August of 1950. … He had been doing big band and then bebop and exploring the whole classical-jazz combo and doing his new classic album because he knew it was a safe space and a community that supported him.”
Heath wants people coming to the show to remember a few things about Parker and about the contributions of African Americans to music.
“He was a prolific composer, and people are still playing his compositions,” Heath says. “There are a few things for black history that need to be documented, and maybe we can change the lives of some young people. … There are not enough of us playing our music. Everybody has taken it and called it theirs, but African-American classical music is jazz.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=937bc93eed) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=937bc93eed&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Apollo Theater Puts on an Opera to Honor Charlie Parker – The Root
http://www.jazzpromoservices.com/
**
————————————————————
http://www.theroot.com/articles/culture/2016/03/the_apollo_theater_puts_on_an_opera_to_honor_charlie_parker.html
** An Opera for a Jazz Virtuoso: The Apollo Theater Honors Charlie Parker
————————————————————
BY: ALLISON KEYES (http://www.theroot.com/authors.allison_keyes.html)
yardbird_001
Tenor Lawrence Brownlee as Charlie Parker in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
The rich, buttery tenor of Lawrence Brownlee soars as if it’s on wings in the opening aria “Birdland.” He is channeling bebop genius Charlie Parker, whose life is at the center of the opera Charlie Parker’s Yardbird (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/) —co-produced by the Apollo Theater and Opera Philadelphia. It is set in New York City’s iconic Birdland jazz club on March 12, 1955—the day Parker died—as his spirit composes his final masterpiece (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/full-synopsis/) .
Coinciding with Parker’s induction into the Walk of Fame at the Apollo on March 30, the opera will make its New York premiere (https://www.apollotheater.org/event/yardbird/) at the theater in Harlem April 1 and April 3. There are also several related events, including a Charlie Parker Harlem Tour and an open dress rehearsal of the opera March 31.
“It’s a great challenge for me,” says Brownlee, whose recording of Virtuoso Rossini Arias (http://www.amazon.com/Lawrence-Brownlee-Virtuoso-Rossini-Arias/dp/B00IN3PPJC) was nominated for a Grammy. The Associated Press has called him “one of the world’s leading bel canto tenors (http://www.lawrencebrownlee.com/about-1/#bio) .” But the man who grew up in the church singing gospel and then joined a band doing madrigals, and later an R&B group, says it’s been a little different to get into the mind and character of this musician known for his bold musical experiments.
“I have to try to be flexible and try and learn the mind and body of a jazz musician,” Brownlee explains. “Charlie Parker was virtuosity. His music, his scales, his soloing, his orientation, was so out of this world. The composer of this transcribed some of the actual solos of Charlie Parker into vocal lines. … To learn a scat language, I listen to some of the great scatters and try and think in the mind of a virtuosity jazz person.”
yardbird_002
Mezzo-soprano Tamara Mumford as Baroness Pannonica “Nica” de Koenigswarter and tenor Lawrence Brownlee in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
Bridgette Wimberly, who wrote the libretto (which is the story the music will tell), had some challenges as well. The composer, Daniel Schnyder, asked her to make sure Parker wrote something new in this opera. So Wimberly read everything about Parker, from biographies written by people who knew and loved him to a letter written by his mother, Addie, about the relationship she had with her son. Parker died at the New York City apartment of his friend and patroness Baroness Pannonica de Koenigswarter, and his body was taken to Bellevue Hospital.
“His soul is in Birdland while his corpse is in Bellevue,” Wimberly says. “The people who knew him were the women in his life. … I couldn’t get into all that music playing; that’s not my world. But I do understand women in love with men.”
Wimberly based her story on those women and on his quest to write a new piece, a big orchestration, a classical masterpiece for 40 instruments instead of a quartet or quintet.
“He visits parts of his life, the people he loved most, for inspiration,” Wimberly explains. “I hope that people get an understanding of Charlie Parker the man, his life and what he did as a musician.”
“His music inspired people all over the world in the way they improvised, in their freedom of expression in music,” says Jimmy Heath (http://www.jimmyheath.com/) , 89, a jazz legend himself who played with Parker. The brilliant composer, arranger and instrumentalist says that Parker and Dizzy Gillespie, along with Thelonious Monk, were the architects of the music known as bebop.
yardbird_024
Tenor Lawrence Brownlee as Charlie Parker sings “My Horn” in the world premiere of the opera Charlie Parker’s Yardbird.
Dominic M. Mercier
“They started a new movement in jazz that had swing still embedded in it but was complex in its improvisation,” Heath says. Parker used Heath’s saxophone during a series of gigs in Philadelphia with Miles Davis, Max Roach, Tommy Potter and Duke Jordan. But Parker used to leave his mouthpiece on Heath’s horn.
“I would take it up … I would say, ‘Charlie Parker played last night and I know he left some of his music in here, but it went right through the horn,’” Heath says, chuckling. “I said I can’t capture it like that, I’ve gotta study it; and that’s what I began to do, and they started calling me Little Bird.”
Heath will be performing at Parker’s Walk of Fame induction, where a plaque will be installed along 125th Street alongside those of other legends, from Louis Armstrong to Michael Jackson.
“We want people to understand Charlie Parker and his relationship with the Apollo,” says Mikki Shepard, the Apollo’s executive producer. “[He] played the Apollo so many times … and did his classical recording (http://www.amazon.com/Bird-Strings-Charlie-Carnegie-Birdland/dp/B004MWTK76) . The first time he performed it was in August of 1950. … He had been doing big band and then bebop and exploring the whole classical-jazz combo and doing his new classic album because he knew it was a safe space and a community that supported him.”
Heath wants people coming to the show to remember a few things about Parker and about the contributions of African Americans to music.
“He was a prolific composer, and people are still playing his compositions,” Heath says. “There are a few things for black history that need to be documented, and maybe we can change the lives of some young people. … There are not enough of us playing our music. Everybody has taken it and called it theirs, but African-American classical music is jazz.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Warwick, Ny 10990
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The Apollo Theater Puts on an Opera to Honor Charlie Parker – The Root
http://www.jazzpromoservices.com/
**
————————————————————
http://www.theroot.com/articles/culture/2016/03/the_apollo_theater_puts_on_an_opera_to_honor_charlie_parker.html
** An Opera for a Jazz Virtuoso: The Apollo Theater Honors Charlie Parker
————————————————————
BY: ALLISON KEYES (http://www.theroot.com/authors.allison_keyes.html)
yardbird_001
Tenor Lawrence Brownlee as Charlie Parker in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
The rich, buttery tenor of Lawrence Brownlee soars as if it’s on wings in the opening aria “Birdland.” He is channeling bebop genius Charlie Parker, whose life is at the center of the opera Charlie Parker’s Yardbird (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/) —co-produced by the Apollo Theater and Opera Philadelphia. It is set in New York City’s iconic Birdland jazz club on March 12, 1955—the day Parker died—as his spirit composes his final masterpiece (https://www.operaphila.org/whats-on/on-stage-2014-2015/charlie-parkers-yardbird/full-synopsis/) .
Coinciding with Parker’s induction into the Walk of Fame at the Apollo on March 30, the opera will make its New York premiere (https://www.apollotheater.org/event/yardbird/) at the theater in Harlem April 1 and April 3. There are also several related events, including a Charlie Parker Harlem Tour and an open dress rehearsal of the opera March 31.
“It’s a great challenge for me,” says Brownlee, whose recording of Virtuoso Rossini Arias (http://www.amazon.com/Lawrence-Brownlee-Virtuoso-Rossini-Arias/dp/B00IN3PPJC) was nominated for a Grammy. The Associated Press has called him “one of the world’s leading bel canto tenors (http://www.lawrencebrownlee.com/about-1/#bio) .” But the man who grew up in the church singing gospel and then joined a band doing madrigals, and later an R&B group, says it’s been a little different to get into the mind and character of this musician known for his bold musical experiments.
“I have to try to be flexible and try and learn the mind and body of a jazz musician,” Brownlee explains. “Charlie Parker was virtuosity. His music, his scales, his soloing, his orientation, was so out of this world. The composer of this transcribed some of the actual solos of Charlie Parker into vocal lines. … To learn a scat language, I listen to some of the great scatters and try and think in the mind of a virtuosity jazz person.”
yardbird_002
Mezzo-soprano Tamara Mumford as Baroness Pannonica “Nica” de Koenigswarter and tenor Lawrence Brownlee in the world premiere of the opera Charlie Parker’s Yardbird
Dominic M. Mercier
Bridgette Wimberly, who wrote the libretto (which is the story the music will tell), had some challenges as well. The composer, Daniel Schnyder, asked her to make sure Parker wrote something new in this opera. So Wimberly read everything about Parker, from biographies written by people who knew and loved him to a letter written by his mother, Addie, about the relationship she had with her son. Parker died at the New York City apartment of his friend and patroness Baroness Pannonica de Koenigswarter, and his body was taken to Bellevue Hospital.
“His soul is in Birdland while his corpse is in Bellevue,” Wimberly says. “The people who knew him were the women in his life. … I couldn’t get into all that music playing; that’s not my world. But I do understand women in love with men.”
Wimberly based her story on those women and on his quest to write a new piece, a big orchestration, a classical masterpiece for 40 instruments instead of a quartet or quintet.
“He visits parts of his life, the people he loved most, for inspiration,” Wimberly explains. “I hope that people get an understanding of Charlie Parker the man, his life and what he did as a musician.”
“His music inspired people all over the world in the way they improvised, in their freedom of expression in music,” says Jimmy Heath (http://www.jimmyheath.com/) , 89, a jazz legend himself who played with Parker. The brilliant composer, arranger and instrumentalist says that Parker and Dizzy Gillespie, along with Thelonious Monk, were the architects of the music known as bebop.
yardbird_024
Tenor Lawrence Brownlee as Charlie Parker sings “My Horn” in the world premiere of the opera Charlie Parker’s Yardbird.
Dominic M. Mercier
“They started a new movement in jazz that had swing still embedded in it but was complex in its improvisation,” Heath says. Parker used Heath’s saxophone during a series of gigs in Philadelphia with Miles Davis, Max Roach, Tommy Potter and Duke Jordan. But Parker used to leave his mouthpiece on Heath’s horn.
“I would take it up … I would say, ‘Charlie Parker played last night and I know he left some of his music in here, but it went right through the horn,’” Heath says, chuckling. “I said I can’t capture it like that, I’ve gotta study it; and that’s what I began to do, and they started calling me Little Bird.”
Heath will be performing at Parker’s Walk of Fame induction, where a plaque will be installed along 125th Street alongside those of other legends, from Louis Armstrong to Michael Jackson.
“We want people to understand Charlie Parker and his relationship with the Apollo,” says Mikki Shepard, the Apollo’s executive producer. “[He] played the Apollo so many times … and did his classical recording (http://www.amazon.com/Bird-Strings-Charlie-Carnegie-Birdland/dp/B004MWTK76) . The first time he performed it was in August of 1950. … He had been doing big band and then bebop and exploring the whole classical-jazz combo and doing his new classic album because he knew it was a safe space and a community that supported him.”
Heath wants people coming to the show to remember a few things about Parker and about the contributions of African Americans to music.
“He was a prolific composer, and people are still playing his compositions,” Heath says. “There are a few things for black history that need to be documented, and maybe we can change the lives of some young people. … There are not enough of us playing our music. Everybody has taken it and called it theirs, but African-American classical music is jazz.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=937bc93eed) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=937bc93eed&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
David Baker, jazz teacher and musician, dies at 84: Indy Star
http://www.jazzpromoservices.com/
**
————————————————————
http://www.indystar.com/story/entertainment/music/2016/03/26/david-baker/82293442/
** David Baker, jazz teacher and musician, dies at 84
————————————————————
Madeline Buckley (http://www.indystar.com/staff/35279/madeline-buckley/) , madeline.buckley@indystar.com
Back in 1978, Luke Gillespie was in jazz musician and educator David Baker’s officer at Indiana University and saw the Miles Davis LP “Kind of Blue” on the turntable. It looked worn and scratched, like it was played over and over, Gillespie said.
“Wow,” Gillespie said to Baker, his teacher. “You have gotten a lot of mileage out of this record.”
Baker’s reply, Gillespie said, changed his life.
“Yeah, that’s my seventh copy,” Baker told him.
Gillespie, a professor in the IU Jacobs School of Music and performer of jazz and classical piano music, surmised that Baker would have had to play the vinyl record hundreds, or even thousands, of times, before the grooves became too worn to allow the needle to stay within the line.
And Baker was on his seventh copy.
It was a moment, Gillespie said, that for him, encapsulates Baker’s influence as an educator.
“I thought I had listened a lot, but I had never listened enough to wear out even one record,” Gillespie said. “I realized that I hadn’t really listened as much as I needed to really absorb the music.”
Baker, a renowned jazz performer and composer, died Saturday, colleagues and friends confirmed. He was 84.
Baker was a professor at the IU music school and founder of its Jazz Studies program.
An Indianapolis native, Baker racked up numerous awards during an illustrious musical career that began early in his time as a student at Crispus Attucks High School in the 1940s, when, according to a 2008 IndyStar report, he would “sneak into the smoky clubs of Indiana Avenue to soak up the atmosphere.”
At Crispus Attucks, Baker had said he cultivated a love of jazz.
“We went to Attucks at a time that was very exciting. There was a great tradition of jazz already there by then,” Baker told IndyStar in 2008. “We had the creme de la creme of mentors — a large music department of maybe four, five teachers. In retrospect, it was seemingly the best of all possible worlds.”
Baker was an aspiring trombone player then, but he would grow to be a Grammy-nominated artist with more than 1,000 compositions. He took up the cello after a car accident injured muscles in his face.
Among Baker’s honors are becoming an Indiana Living Legend in 2001, an NEA Jazz Master in 2000, a Grammy nominee in 1979 and Pulitzer Prize nominee in 1972.
He taught and performed throughout the United States, Canada, Europe, Australia, New Zealand and Japan, according to Baker’s retirement biography, written by Gillespie. He also co-founded the Smithsonian Jazz Masterworks Orchestra, Gillespie said.
Baker founded IU’s Jazz Studies program after he was hired at the school of music in 1966. He received a bachelor’s and master’s degree in music education at IU.
“He kind of opened my eyes to a lot of different things,” said Rob Dixon, a jazz saxophonist who studied under Baker. “When he said something, you would perk up, when he said, ‘Listen to Sonny Rollins; check out Joe Henderson.'”
Brent Wallarab, a professor at IU’s music school and a trombone player, said Baker was an educator who had the ability to see talents in students before they saw it themselves.
“He always had that intuitive sense,” said Wallarab, who studied under Baker first in 1987 and continued a long professional relationship with him. “From the very beginning, he seemed to see things in me as a young musician that I hadn’t even recognized. He was able to provide opportunities that were kind of designed to help me see my potential.”
Baker is survived by his wife, Lida; daughter April; son-in-law Brad; April’s mother, Jeanne; his granddaughter, Kirsten, and her husband, Nick; his nephew, David Michael; and sons Greyson and Elijah, Gillespie wrote in the biography.
IndyStar reporter Dave Lindquist contributed to this story. Call IndyStar reporter Madeline Buckley at (317) 444-6083. Follow her on Twitter: @Mabuckley88 (https://twitter.com/Mabuckley88) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f103f6f07c) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=f103f6f07c&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
David Baker, jazz teacher and musician, dies at 84: Indy Star
http://www.jazzpromoservices.com/
**
————————————————————
http://www.indystar.com/story/entertainment/music/2016/03/26/david-baker/82293442/
** David Baker, jazz teacher and musician, dies at 84
————————————————————
Madeline Buckley (http://www.indystar.com/staff/35279/madeline-buckley/) , madeline.buckley@indystar.com
Back in 1978, Luke Gillespie was in jazz musician and educator David Baker’s officer at Indiana University and saw the Miles Davis LP “Kind of Blue” on the turntable. It looked worn and scratched, like it was played over and over, Gillespie said.
“Wow,” Gillespie said to Baker, his teacher. “You have gotten a lot of mileage out of this record.”
Baker’s reply, Gillespie said, changed his life.
“Yeah, that’s my seventh copy,” Baker told him.
Gillespie, a professor in the IU Jacobs School of Music and performer of jazz and classical piano music, surmised that Baker would have had to play the vinyl record hundreds, or even thousands, of times, before the grooves became too worn to allow the needle to stay within the line.
And Baker was on his seventh copy.
It was a moment, Gillespie said, that for him, encapsulates Baker’s influence as an educator.
“I thought I had listened a lot, but I had never listened enough to wear out even one record,” Gillespie said. “I realized that I hadn’t really listened as much as I needed to really absorb the music.”
Baker, a renowned jazz performer and composer, died Saturday, colleagues and friends confirmed. He was 84.
Baker was a professor at the IU music school and founder of its Jazz Studies program.
An Indianapolis native, Baker racked up numerous awards during an illustrious musical career that began early in his time as a student at Crispus Attucks High School in the 1940s, when, according to a 2008 IndyStar report, he would “sneak into the smoky clubs of Indiana Avenue to soak up the atmosphere.”
At Crispus Attucks, Baker had said he cultivated a love of jazz.
“We went to Attucks at a time that was very exciting. There was a great tradition of jazz already there by then,” Baker told IndyStar in 2008. “We had the creme de la creme of mentors — a large music department of maybe four, five teachers. In retrospect, it was seemingly the best of all possible worlds.”
Baker was an aspiring trombone player then, but he would grow to be a Grammy-nominated artist with more than 1,000 compositions. He took up the cello after a car accident injured muscles in his face.
Among Baker’s honors are becoming an Indiana Living Legend in 2001, an NEA Jazz Master in 2000, a Grammy nominee in 1979 and Pulitzer Prize nominee in 1972.
He taught and performed throughout the United States, Canada, Europe, Australia, New Zealand and Japan, according to Baker’s retirement biography, written by Gillespie. He also co-founded the Smithsonian Jazz Masterworks Orchestra, Gillespie said.
Baker founded IU’s Jazz Studies program after he was hired at the school of music in 1966. He received a bachelor’s and master’s degree in music education at IU.
“He kind of opened my eyes to a lot of different things,” said Rob Dixon, a jazz saxophonist who studied under Baker. “When he said something, you would perk up, when he said, ‘Listen to Sonny Rollins; check out Joe Henderson.'”
Brent Wallarab, a professor at IU’s music school and a trombone player, said Baker was an educator who had the ability to see talents in students before they saw it themselves.
“He always had that intuitive sense,” said Wallarab, who studied under Baker first in 1987 and continued a long professional relationship with him. “From the very beginning, he seemed to see things in me as a young musician that I hadn’t even recognized. He was able to provide opportunities that were kind of designed to help me see my potential.”
Baker is survived by his wife, Lida; daughter April; son-in-law Brad; April’s mother, Jeanne; his granddaughter, Kirsten, and her husband, Nick; his nephew, David Michael; and sons Greyson and Elijah, Gillespie wrote in the biography.
IndyStar reporter Dave Lindquist contributed to this story. Call IndyStar reporter Madeline Buckley at (317) 444-6083. Follow her on Twitter: @Mabuckley88 (https://twitter.com/Mabuckley88) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f103f6f07c) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=f103f6f07c&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
David Baker, jazz teacher and musician, dies at 84: Indy Star
http://www.jazzpromoservices.com/
**
————————————————————
http://www.indystar.com/story/entertainment/music/2016/03/26/david-baker/82293442/
** David Baker, jazz teacher and musician, dies at 84
————————————————————
Madeline Buckley (http://www.indystar.com/staff/35279/madeline-buckley/) , madeline.buckley@indystar.com
Back in 1978, Luke Gillespie was in jazz musician and educator David Baker’s officer at Indiana University and saw the Miles Davis LP “Kind of Blue” on the turntable. It looked worn and scratched, like it was played over and over, Gillespie said.
“Wow,” Gillespie said to Baker, his teacher. “You have gotten a lot of mileage out of this record.”
Baker’s reply, Gillespie said, changed his life.
“Yeah, that’s my seventh copy,” Baker told him.
Gillespie, a professor in the IU Jacobs School of Music and performer of jazz and classical piano music, surmised that Baker would have had to play the vinyl record hundreds, or even thousands, of times, before the grooves became too worn to allow the needle to stay within the line.
And Baker was on his seventh copy.
It was a moment, Gillespie said, that for him, encapsulates Baker’s influence as an educator.
“I thought I had listened a lot, but I had never listened enough to wear out even one record,” Gillespie said. “I realized that I hadn’t really listened as much as I needed to really absorb the music.”
Baker, a renowned jazz performer and composer, died Saturday, colleagues and friends confirmed. He was 84.
Baker was a professor at the IU music school and founder of its Jazz Studies program.
An Indianapolis native, Baker racked up numerous awards during an illustrious musical career that began early in his time as a student at Crispus Attucks High School in the 1940s, when, according to a 2008 IndyStar report, he would “sneak into the smoky clubs of Indiana Avenue to soak up the atmosphere.”
At Crispus Attucks, Baker had said he cultivated a love of jazz.
“We went to Attucks at a time that was very exciting. There was a great tradition of jazz already there by then,” Baker told IndyStar in 2008. “We had the creme de la creme of mentors — a large music department of maybe four, five teachers. In retrospect, it was seemingly the best of all possible worlds.”
Baker was an aspiring trombone player then, but he would grow to be a Grammy-nominated artist with more than 1,000 compositions. He took up the cello after a car accident injured muscles in his face.
Among Baker’s honors are becoming an Indiana Living Legend in 2001, an NEA Jazz Master in 2000, a Grammy nominee in 1979 and Pulitzer Prize nominee in 1972.
He taught and performed throughout the United States, Canada, Europe, Australia, New Zealand and Japan, according to Baker’s retirement biography, written by Gillespie. He also co-founded the Smithsonian Jazz Masterworks Orchestra, Gillespie said.
Baker founded IU’s Jazz Studies program after he was hired at the school of music in 1966. He received a bachelor’s and master’s degree in music education at IU.
“He kind of opened my eyes to a lot of different things,” said Rob Dixon, a jazz saxophonist who studied under Baker. “When he said something, you would perk up, when he said, ‘Listen to Sonny Rollins; check out Joe Henderson.'”
Brent Wallarab, a professor at IU’s music school and a trombone player, said Baker was an educator who had the ability to see talents in students before they saw it themselves.
“He always had that intuitive sense,” said Wallarab, who studied under Baker first in 1987 and continued a long professional relationship with him. “From the very beginning, he seemed to see things in me as a young musician that I hadn’t even recognized. He was able to provide opportunities that were kind of designed to help me see my potential.”
Baker is survived by his wife, Lida; daughter April; son-in-law Brad; April’s mother, Jeanne; his granddaughter, Kirsten, and her husband, Nick; his nephew, David Michael; and sons Greyson and Elijah, Gillespie wrote in the biography.
IndyStar reporter Dave Lindquist contributed to this story. Call IndyStar reporter Madeline Buckley at (317) 444-6083. Follow her on Twitter: @Mabuckley88 (https://twitter.com/Mabuckley88) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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[JPL] David Baker has Joined the Ancestors
http://www.jazzpromoservices.com/
**
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David Baker has Joined the Ancestors
I received word from Ken Kimery, Director of the Smithsonian Jazz Masterworks Orchestra that
David Nathaniel Baker Jr. (December 21, 1931 – March 26, 2016)
passed today. It is also posted on his Wikipedia entry (copied above).
I wrote this on my FB wall:
Heartbroken to learn that the true renaissance man of Jazz, David N. Baker has joined the ancestors. Composer, performer, educator, and mentor to most of us involved in this art form, David Baker was a primary architect of Jazz Education. R.I.P. Dear Brother David, your impact, influence and inspiration is immortal.
A sad day for our music,
Anthony Brown, Ph.D.
Smithsonian Associate Scholar;
Director,
Asian American Orchestra,
Fifth Stream Music
www.anthonybrown.org
www.fifthstreammusic.org
(510) 428-2126
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=a01956d45f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=a01956d45f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
[JPL] David Baker has Joined the Ancestors
http://www.jazzpromoservices.com/
**
————————————————————
David Baker has Joined the Ancestors
I received word from Ken Kimery, Director of the Smithsonian Jazz Masterworks Orchestra that
David Nathaniel Baker Jr. (December 21, 1931 – March 26, 2016)
passed today. It is also posted on his Wikipedia entry (copied above).
I wrote this on my FB wall:
Heartbroken to learn that the true renaissance man of Jazz, David N. Baker has joined the ancestors. Composer, performer, educator, and mentor to most of us involved in this art form, David Baker was a primary architect of Jazz Education. R.I.P. Dear Brother David, your impact, influence and inspiration is immortal.
A sad day for our music,
Anthony Brown, Ph.D.
Smithsonian Associate Scholar;
Director,
Asian American Orchestra,
Fifth Stream Music
www.anthonybrown.org
www.fifthstreammusic.org
(510) 428-2126
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=a01956d45f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=a01956d45f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
[JPL] David Baker has Joined the Ancestors
http://www.jazzpromoservices.com/
**
————————————————————
David Baker has Joined the Ancestors
I received word from Ken Kimery, Director of the Smithsonian Jazz Masterworks Orchestra that
David Nathaniel Baker Jr. (December 21, 1931 – March 26, 2016)
passed today. It is also posted on his Wikipedia entry (copied above).
I wrote this on my FB wall:
Heartbroken to learn that the true renaissance man of Jazz, David N. Baker has joined the ancestors. Composer, performer, educator, and mentor to most of us involved in this art form, David Baker was a primary architect of Jazz Education. R.I.P. Dear Brother David, your impact, influence and inspiration is immortal.
A sad day for our music,
Anthony Brown, Ph.D.
Smithsonian Associate Scholar;
Director,
Asian American Orchestra,
Fifth Stream Music
www.anthonybrown.org
www.fifthstreammusic.org
(510) 428-2126
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=a01956d45f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=a01956d45f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Why Vinyl Records and Other ‘Old’ Technologies Die Hard – The New York Times
http://www.jazzpromoservices.com/
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http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0
** Why Vinyl Records and Other ‘Old’ Technologies Die Hard
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Disruptions (http://www.nytimes.com/column/disruptions)
By NICK BILTON (http://topics.nytimes.com/top/reference/timestopics/people/b/nick_bilton/index.html) MARCH 16, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0#story-continues-1) Share This Page
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Ellen Weinstein
For a glimpse of what teenagers are into these days, all you have to do is visit Abbot Kinney Boulevard (http://abbotkinneyblvd.com/) in the Venice neighborhood of Los Angeles. On weekend nights, the half-mile shopping drag is packed with style-conscious kids who traipse past coffee shops, ice cream parlors and boutiques, often while taking selfies.
Yet one of the most popular destinations for these teenagers is a white, single-story building with big pink letters on the roof that spell “Vnyl.” The store sells vinyl records, and the kids who gather there are often in awe.
“I’d say half of the teens who hang out in my store have never seen a record player before,” said Nick Alt (https://twitter.com/nickalt) , the founder of Vnyl (https://vnyl.org/) . “They will walk up to the turntable, and they have no concept where to put the needle.” But once they figure out that the needle goes into the outermost groove, those smartphone-toting teenagers are hooked.
Whenever a new technology comes out, we often believe it will make an older technology obsolete. As a reporter who has been covering technology for The New York Times for more than a decade, I’ve made such proclamations, saying that theiPad would kill the Kindle (http://bits.blogs.nytimes.com/2010/01/27/three-reasons-why-the-ipad-will-kill-amazons-kindle/) (I later realized the error of my ways, and now own both), that eBooks would be the death of print (I later reversed myself (http://www.nytimes.com/2015/05/14/style/in-a-mothers-library-bound-in-spirit-and-in-print.html) , several times), and that driverless cars will make driving passé and allow us to nap in the front seat (this has yet to be disproved).
But what I’ve come to realize is that while the new thing gets people excited, the old thing often doesn’t go away. And if it does, it takes a very long time to meet its demise.
Just look at film cameras. You would think they have been vanquished from the planet, but millions of people still use them. In 2012, more than 35 million rolls of camera film were sold, compared with 20 million the year before.
And while Polaroid has filed for bankruptcy (twice) in the age of digital cameras, the company is making a resurgence (again). One of Polaroid’s largest growing demographics, surprisingly, is teenagers (http://www.fastcompany.com/3030562/bottom-line/how-polaroid-saved-itself-from-certain-death) who want a tangible photo but also don’t want to wait. (Polaroid has also become the go-to camera (http://www.theguardian.com/artanddesign/2014/nov/08/why-stars-love-polaroid-no-embarrassing-uploads) for people who take nude photos and fear that their phones could be hacked.)
Continue reading the main story
Other types of physical media have also held on.
More than 571 million print books (http://qz.com/578025/against-all-odds-print-books-are-on-the-rise-again-in-the-us/) were sold in the United States in 2014. About 55 million newspapers still land on doorsteps every morning. As for those vinyl records, 13 million LPs were sold in 2014, the highest count (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html?_r=0) in 25 years, according to the Recording Industry Association of America. (Records are also one of the few growth areas for the beleaguered industry.)
So why does old tech survive and, in some cases, undergo a revival? For some consumers, it’s about familiarity (e.g., newspapers and print books), while for others, it’s about nostalgia (e.g., record players and film cameras).
For example, I’ve been taking photos for over 25 years, and what made me fall in love with photography was the dirt, grit and grime of film (I used to shoot with Tri-X 3200 for the film nerds out there). And as much as I love my digital cameras, I’ve been shooting with film again to capture some of that visceral quality I no longer get with pixels.
The resurgence of old tech doesn’t stop with physical media.
For example, tens of millions of Americans still own a landline; millions of USB thumb drives are still being used, even though you can store anything in the cloud free; and people still use and buy (http://www.statista.com/statistics/225371/feature-phone-and-smartphone-shipment-forecast-in-north-america/) tens of millions of flip phones every year, including (http://www.huffingtonpost.com/entry/flip-phones-smartphones_us_55afd793e4b07af29d5729ae) such notables as Mayor Bill de Blasio, Anna Wintour, Warren Buffett, Iggy Pop and Rihanna. Pagers also never completely died.
You’ve probably heard the saying that the minute that you drive a car off a dealer’s lot, it loses value. Well, that is no longer true for old cars. Some vintage cars have increased in value by 500 percent (http://www.investmentnews.com/article/20150702/FREE/150709968/classic-car-prices-have-surged-but-investing-in-them-is-another-story) . (One reason for this is that younger car owners want to be able to fix and tinker with their own cars. Try doing that with a Tesla, and you’ll void the warranty.)
Of course, there are some outdated technologies that die a fateful death and never return. I don’t know many people with a dedicated car phone, for example. (Though I’m sure some hipster just posted one to Instagram.)
To be fair, we have been wrongly predicting the demise of old technologies for some time. In 1876, for example, when The New York Times first wrote about the telephone (http://query.nytimes.com/mem/archive-free/pdf?res=9806E4D71E3FE73BBC4A51DFB566838D669FDE) , and later the phonograph, the writers of the day said that these devices would empty the concert halls and churches, as no one would ever want to leave home again.
And yet, just this month, Diplo held a concert for an estimated half-million people (http://www.nytimes.com/2016/03/08/arts/music/diplo-and-major-lazer-bring-their-brand-of-music-to-cuba.html) in Cuba. Something tells me that some of those people will also be buying the performer’s album on vinyl.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6012804dc0) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6012804dc0&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA