4 For most school bands, hitting the road usually means at best a trip to some school festival or competiion or at worst a lousy school bus ride to a neighboring school for a competition. However, select students at the Jamey Aebersold Jazz Studies Program at the University of Louisville are going about as far as possible to perform their music and compete against other groups. Mixolegion, the University of Louisvlle’s International Quintet under the direction of Mike Tracy are headed in a few days to Russia where they will perform at various venues and festivals over a period of about 10 days. Members of Mixolegion include Anderson Pessoa (saxophone - Brazil), Craig Tweddell (trumpet -USA), Alim Nastaev (guitar - Russia), Saulo De Almeida (bass - Brazil), and Daniel Falter (drums - USA). In addition, Professor Tracy will be conducting master classes in Dubna and Kimry as well as in Rostov at the Taganrog College of Arts (where Anton Chekhov was born) and The Rostov State Conservatoire. Tracy explained that the trip to this unique destination came about as a result of a long-term relationship between his program and Russian jazz organizations. “The University of Louisville and our Jazz Studies Program have had an on-going relationship with Russian jazz musicians and organizations primarily through our participating in the Open World Leadership Program which is supported in part by the Library of Congress,” said Tracy. “We have hosted six jazz groups through Open World since 2004 and will host another in February 2010. Part of the experience for our students is getting the opportunity to visit Russia and play alongside musicians who have traveled to Louisville. While this is my fourth trip, it’s the second university group to visit Russia.” For at least one of the members of the group, the trip will less exotic, but no less significant. “One of Mixolegion's members is Alim Nastaev who is from Russia and a graduate student in our program,” noted Tracy. “He is from the Rostov region and knew the organizers of their jazz festival. He contacted them about whether they would be interested in our performing. They jumped at the chance for our group to participate in their festitval and we were equally excited to attend. I was then able to connect with other presenters once the Rostov dates were secured. Before long we had a ten-day tour set, performing every night. In addition to performing, I will be giving workshops on jazz and improvisation with the assistance of the group.” Savvy parents of college-aged kids may be wondering how much the bill came to per student, not that we’d not pay any money to enable our kids to have an experience like that. The answer, said Tracy, is about $1,500 per student. “The vast majority of the cost was for air, trains, and Russian Visa. Festivals and host organizations are providing most living accommodations and meals. Not bad I think. It’s a great experience for about $150 a day.” Tracy hopes the students will learn about more than performing jazz for new audiences. “There are numerous learning opportunities for our students,” said Tracy. “First, getting to see another country first hand. Two of the students are from Brazil while two are from the USA but have never been outside the country. So this trip is an eye-opening experience for all. Playing alongside their peers and hearing musicians from countries can only expand their knowledge and appreciation of jazz is another plus.” As much as the kids will get from the trip, Tracy expects that audiences in Russia will benefit as well. “The world is becoming smaller and jazz is absorbing many influences. This tour is an excellent example of that change. Our group is also performing all original selections written by the members, thus giving audiences an opportunity to hear new compositions that have been influenced from many sources. Our students will be receiving an immediate response to their music from appreciative audiences.” Here is the itinerary of Tracy and Mixolegion while in Russia: November 20 - Yaroslavl at the Jazz Center. November 21 - Dubna at the 7th international MuzEnergo Festival with Kaulakau (Spain), Interstellar Overdrive Trio (France), SymFusion Orchestra (Moscow, Russia). November 22 - Kimry at the MuzEnergo festival with Nick Kulikov Quartet (Arkhangelsk/Moscow, Russia), Youlia Malikova’s *Magnit* (Moscow, Russia), Natalia Blinova*s *Priot* ensemble (Moscow, Russia). Visit www.muzenergo.ru for information the festivals in Dubna and Kimry. November 23 - Moscow at a local club. November 25 - Taganrog at Taganrog Culture Centre November 26 - Shakti at Shakti Theatre November 27 & 28 - Rostov-on-the-Don at the International Jazz Festival 2009 true 129 2009-11-20T11:31:25-05:00 false 25341 true 89 2009-11-20T11:30:00-05:00 2009-11-20T11:30:00-05:00

Members of Mixolegion, the University of Louisville’s International Jazz Quintet, travel to Russia for 10 days of performances under direction of Mike Tracy

2009-11-20T12:01:16-05:00

4 Starting on Friday, November 20 at 3 pm ET, <I>Milles Davis Radio</I> will air on XM Channel 70 and Sirius Channel 72. The 24-hour commercial free channel will run until Wednesday, November 25. Hosted by Davis’ son Erin Davis, his nephew Vince Wilburn Jr. and his former bassist and producer Marcus Miller, <I>Milles Davis Radio</I> will feature music from Davis’ extensive catalog, which includes over one hundred albums. But, according to the press release received by JT, they’ll be doing more than playing cuts from his old albums. Listeners will hear former Miles Davis music director Robert Irving III spin soundtrack music recorded by Davis for the 1986 film <I>Wise Guys</I>. In addition, the channel will include special segments and interviews with former Davis band members and various guests, including musicians such as Jimmy Cobb, Herbie Hancock, John Scofield, Monty Alexander, Ron Carter, Carlos Santana, Darryl Jones and Quincy Jones, as well as record executives Bruce Lundvall and Clive Davis, and Davis’ long-time road manager Gordon Meltzer. They also have some of what historians call “primary source” material, with various rare recordings of Miles talking about life and music, including excerpts from the 1989 <I>60 Minutes</I> interview with the late Harry Reasoner and a 1989 conversation with musician/broadcaster Ben Sidran. This is not the first limited-run Sirius/XM channel dedicated to the music of one specific artist, but it is one of the only ones dedicated to a jazz artist. Previous subjects have included Paul McCartney, Metallica, Rolling Stones, AC/DC, R.E.M., Led Zeppelin and ABBA, among many others. For more information, you can visit the <A HREF=http://www.Sirius.com>Sirius web site</a> or <A HREF=http://www.xmradio.com>XM web site</a>. true 129 2009-11-19T15:17:24-05:00 true 25334 true 89 2009-11-19T22:00:00-05:00 2009-11-19T22:00:00-05:00

24-hour channel dedicated to life and music of Miles Davis set for limited run on Sirius/XM satellite channel

2009-11-19T19:27:57-05:00

4 When the JVC Jazz Festival New York was cancelled in 2009 due to the economic difficulties of the presenter - The Festival Network - jazz fans in New York City were heartbroken One of those heartbroken jazz fans happened to be George Wein, the founder and original presenter of the festival going back to the days of Newport and Kool. With the help of sponsorship from health-care corporation CareFusion and the support of his longtime staffers and allies, Wein, under the aegis of his new company New Festival Productions, managed to resurrect the Newport event which had also been cancelled, but there was not enough time to mount a New York festival from scratch. Nonetheless Wein virtually promised that a New York festival would return, somehow or some way. Today, dates were announced for the 2010 CareFusion New York Jazz Festival, which will take over the city for ten days, in very much the same way that JVC did for 20-some years and Kool did before that. The festival will take place June 16-27 at various venues scattered throughout the city. In a press release received at JT, Wein credited his sponsor and his own legacy for the revival of the event. “"When CareFusion came on board to sponsor the 2009 jazz festival in Newport, I called it a miracle. When they agreed to sponsor the 2010 festival in New York, it was a sign that the tradition we established in 1972 could continue," said Mr. Wein. "However, producing a major jazz festival in New York is always a challenge," he added. "With outstanding music presented nightly in the clubs and concert halls, this city is a festival all year round. So, to give jazz fans the great festival they deserve, we're keeping in mind lyrics by my friend Johnny Mercer, 'Accentuate the Positive.'" The talent lineups have not been finalized and will not be announced for a few months, but Wein has confirmed that the basic structure of the festival remains unchanged, with shows taking place at familiar venues, both indoor and outdoor in the early summer. Among the venues are: Carnegie Hall, City Parks Foundation's Central Park SummerStage, Crotona Park in the Bronx, City Winery, Harlem Stage Gatehouse, The Jazz Gallery, Jazz Standard, (Le) Poisson Rouge; Louis Armstrong House Museum, Music Hall of Williamsburg, Peter Norton Symphony Space; Prospect Park Bandshell: Celebrate Brooklyn; Schomburg Center for Research in Black Culture; Studio Museum in Harlem; and The Town Hall. JT will announce confirmed lineups when they’re announced. For more information about the festival, go to event’s <A HREF=http://www.nycjazzfestival.com>web site</a>. true 129 2009-11-19T19:12:33-05:00 true 25335 true 89 2009-11-19T19:00:00-05:00 2009-11-19T19:00:00-05:00

CareFusion New York Jazz Festival to take place June 16-27, 2010 at various venues throughout the city

2009-11-19T19:16:58-05:00

4 Sure it’s a little early. But trust me, once Thanksgiving rolls around, all we will hear while out shopping will be the sounds of Xmas, for better or worse. Often the latter. But, like many a jazz musician, trumpeter Eddie Allen wants to deliver the former: good Xmas music. Starting on December 5, 2009, the Brooklyn-based trumpeter will be performing his special arrangements of holiday songs for a brass-heavy ensemble in gigs around the New York metropolitan area. He also has a CD out with much of the same music: <A HREF: http://www.eddieallen.net/jazzy_brass.php> <I>Jazzy Brass for the Holidays</I></a>. For Allen, the gigs came first before the recording. “This project started out as an event 3-4 years ago and it just grew,” said Allen. “Every time we’d perform around the holidays, people would request songs.” He decided to write some arrangements to fill that demand. But he didn’t want to do it for one of his existing bands. “I thought, well I could do a Quintet, but I have already written stuff for mine. Afro-Cuban band? Have one. Big Band? Check. Brass Quintet? Now I’ve worked with one for years, but I realized that I could do special arrangements of these songs.” But he ran into a little problem when the tuba player complained that Allen’s bass lines were killing him, so instead he went with an acoustic bass. And each year the group and its music developed. And it’s not just some pick-up band. Allen’s group is comprised by Allen and Cecil Bridgewater on trumpets, W. Marshall Sealy on French horn, Clark Gayton on trombone, Kenny Davis on bass and Carl Allen on drums. No tuba player. As they did gigs each year playing this holiday music, people would ask for recordings, so Allen decided to meet that demand. The choice of material however came from Allen’s own heart and mind. “It’s all from me. I picked songs I’ve always liked. And I had to be able to do something different with the song. For example, I did ‘Away in a Manger’ as a medley with the second part done the way I’d always heard it, but with the first part being done the way it’s written in hymnals, but rarely done. So the arrangement goes from solemn hymn to more of a gospel feel.” I suppose it should come as no surprise that Allen has a deep love and appreciation for Christmas music. When asked if he could name his favorite Christmas recording, Allen said quickly, “Oh, no.” Because there are no good ones or there are too many? “No, not too many. So many! I mean, from Ella to Vince Guaraldi. What can I say? There is so much I love. I can’t pick one.” If he sounds like a kid at Christmas, that’s pretty much how he feels when working on projects like this. The group performs this material mostly at churches, schools and libraries and so Allen strove to make the material accessible to both kids and adults. “I wanted the create music that kids and adults would get interested in and not get bored. I wanted to create a family event.” One of the upcoming gigs is at a nightclub (Sista’s Place in Brooklyn), which is a bit unorthodox for holiday music like this. But Allen just sees that as just another challenge. “I was always inspired by seeing Art Blakey and the Jazz Messengers and the way that they moved people in a nightclub. I want to do the same thing. I want people to be relaxed and comfortable. And the music can go in so many different directions. I like that.” Here is a list of performances by Eddie Allen and Jazzy Brass for the Holidays: Saturday, December 5, 2009 <A HREF= http://www.stalbanscc.org/JazzVespersServices.asp>St. Albans Congregational Church: Jazz Vespers</a> 172-17 Linden Boulevard St. Albans, New York 5 pm Sunday, December 6, 2009 Duryea Presbyterian Church 362 Sterling Place Brooklyn, New York 3:00 pm Saturday, December 12, 2009 <A HREF=http://queenslibrary.org>Langston Hughes Library</a> 100-01 Northern Boulevard Corona, New York 5:00 pm Wednesday, December 16, 2009 <A HREF=http://hrm.org>Hudson River Museum</a> 511 Warburton Avenue Yonkers, New York 1:30 pm Saturday, December 19, 2009 <A HREF=http://sistasplace.org> Sista’s Place</a> 456 Nostrand Avenue (corner of Jefferson Avenue) Brooklyn, New York 9:00 pm All shows open to the public, and all shows but the one at Sista’s Place are for all ages. true 129 2009-11-19T12:31:12-05:00 false 25333 true 89 2009-11-19T12:00:00-05:00 2009-11-19T12:00:00-05:00

Trumpeter arranges holiday music for special brass-heavy group on CD and in performance around NYC area.

2009-11-20T07:53:02-05:00

4 The folks at Toronto Downtown Jazz, one of Canada’s leading jazz festivals, got good news recently, when TD Canada Trust agreed to continue its sponsorship of the festival for another five years. “TD’s support has been instrumental to the growth and development of jazz not only in Toronto, but all across the country,” said Patrick Taylor, Executive Producer and CEO of Toronto Downtown Jazz in a press release sent to JT. “We are thrilled to continue our relationship with TD and look forward to continuing to provide free programming, encourage new Canadian talent and most of all, help keep jazz alive.” According to the press release, the TD Canada Trust Toronto Jazz Festival, in its 24th year, is the city’s largest music festival and attracts over 500,000 people annually and, finally, has contributed over $339 million to the Greater Toronto Area economy since its inception in 1987. And what’s good for the goose is good for the gander, as the bank agreed to continue its sponsorship of the jazz festivals in Victoria, Vancouver, Saskatoon, Winnipeg, Ottawa, Montreal and Halifax. “TD has been supporting jazz in Canada for almost seven years and, in that time, millions of fans have listened to the performances of thousands of artists at these festivals,” stated Tim Hockey, President and CEO, TD Canada Trust. “After years of sponsoring jazz festivals and music programs across Canada, we have seen firsthand how much music means to Canadians as both an expression of cultural identity and a source of enjoyment.” For more information about Toronto Downtown Jazz, go to its <A HREF=http://www.torontojazz.com> web site</a>. true 129 2009-11-18T13:53:32-05:00 false 25331 true 89 2009-11-18T13:00:00-05:00 2009-11-18T13:00:00-05:00

TD Canada Trust announces that it will support jazz festival in Toronto, as well as in other Canadian cities, for next five years

2009-11-18T13:53:41-05:00

4 The music of Thelonious Monk is without question <I>sui generis</I> in jazz and American culture. Impossible to define or duplicate, Monk’s music remains both a mystery and a revelation. Now, with the recent publishing of Robin Kelley’s biography of Thelonious Monk, jazz fans have an opportunity to get to know the man behind the music. Kelley’s book shows that, contrary to the mythology of Monk as the eccentric loner and genius, he was in fact closely connected to his family as well as the world at large. And one of his closest connections, personally and professionally, outside his family was the Baroness Pannonica Rothschild, known familiarly as “Nica,” who acted as a patron, escort, gatekeeper and eventually guardian for the pianist during the last decade or so of his life. Named by her father for a rare species of moth, Nica was a direct descendant of the wealthy and famous Rothschild family, though she lived much of her life in estrangement from those scions of European power and influence. Now the story of her life as well as her relationship with Monk and other jazz musicians is being told in new documentary airing on HBO2, beginning on Wednesday, November 25. <I>The Jazz Baroness</I> was written, produced and directed by Hannah Rothschild, a British filmmaker with family ties to the subject: Nica was her great-aunt. Interestingly, Rothschild knew little about Nica beyond what was known in the public and whispered within the family: that Nica lived with jazz musicians and dozens of cats, that twenty songs were written for her, that Charlie Parker died in her apartment. Rothschild decided to find out the real story and this film documents that ten-year search to solve the puzzle of Nica’s life. Rothschild interviews many jazz musicians and industry insiders, including Sonny Rollins, Roy Haynes, Chico Hamilton, Quincy Jones, Clint Eastwood, Dan Morgenstern, Ira Gitler, Harry Columby and T.S. (Toot) Monk. She also speaks with various family members who would consent to speaking on camera (several did not).. The contrast between those interviews can be both illuminating and jarring. In the press materials sent with the advance copy of the film, Rothschild says, “Everyone agreed on one thing: her great love, the man with whom she lived for ten years, for whom she went to prison, was the resolutely individual high priest of bebop, Thelonious Monk.” Nica’s devotion to Monk as man and musician is vividly illustrated not only by the testimony of their associates, but also by Nica’s own writings voiced here by renowned actress Helen Mirren. At times, the sheer volume and variety of interviews, coupled with the divergent archival footage, bog the story down, but the filmmaker’s very personal narration helps to keep things in focus. No matter. Any jazz fan viewing this film is sure to come away with a more nuanced picture of Nica, Monk and the jazz scene of New York City in the ‘50s and ‘60s. For more information about Nica and the documentary, visit the <A HREF=http://www.thejazzbaroness.co.uk> film's web site</a>. Besides the original airdate of Wednesday, November 25 (8:00-9:30 p.m. ET/PT) on HBO2, the film will also have these additional airdates: Mon. Nov. 29 (8:00 a.m.), Tues. Nov. 30 (3:00 p.m.), Thurs. Dec. 3 (6:30 p.m.), Fri. Dec. 11 (7:45 a.m.), Wed. Dec. 16 (1:30 p.m.). It will also be available on HBO On Demand for one month after Nov. 25. true 129 2009-11-13T12:13:54-05:00 false 25319 true 89 2009-11-18T09:00:00-05:00 2009-11-18T09:00:00-05:00

<I>The Jazz Baroness</I> film explores storied life of Pannonica Rothschild, patron and friend to jazz greats

2009-11-19T19:15:31-05:00

4 Ted Gioia, longtime president and editor of jazz.com, confirmed today that he will be stepping down as editor of the Web site in a few weeks. Gioia refused to comment on the future of the site, for which he not only assigned pieces, but also wrote a considerable amount. Among the regular contributors to jazz.com are a number of <i>JazzTimes</i> writers including Nat Hentoff, Chris Kelsey and Larry Appelbaum, as well as other notable jazz writers such as Stuart Nicholson and Ted Panken. When contacted by <i>JT</i> about the future of the site, Gioia simply stated that he had “no comment.” He also declined to refer us to any other staff or contact at jazz.com for comment. <i>JT</i> contacted several contributors about Gioia, the site and its future. “In Ted Panken, Stuart Nicholson, and its many other contributors, Jazz.com employs some of the best interviewers in the business,” wrote Chris Kelsey, who also edits material for jazz.com. “These guys are indefatigable in the way they get and write-up interviews, and once they get them, they display a rare depth of knowledge. We've gotten so many superb interviews with some of greatest jazz musicians now active. And they keep coming and coming. The encyclopedia gives in-depth info on a huge number of players, many of whom are not much documented elsewhere. The track reviews are a big innovation. Speaking for myself, I love being able to write three or four hundred words about a single performance, as opposed to being limited to many fewer while covering an entire album. The reviews are generally of a high quality, especially when you consider the volume of reviews the site turns out. New stuff is published every day of the week. I think it's very well edited, also. Ted Gioia sets the standard, but the other editors (including myself, I say in all modesty) do an excellent job, as well, especially when it comes to utilizing the Web's unique qualities.” Larry Appelbaum added that, “[Gioia] is an insightful historian and I think he's also a good editor. The site is one that I looked at even before I became a contributor. I especially liked the interviews and the columns occasionally written by musicians. For example, Steve Coleman wrote an interesting analysis of key recordings by Charlie Parker. Perhaps because there was no advertising on the site, the content has not always been tied to promoting new releases, which is refreshing. Don't know what the business model is now, but they built something from nothing and I hope it will grow.” In fact, the business model for the site has long perplexed jazz media people because, as Appelbaum noted, the site has no visible advertising nor does it charge users to view its content. In addition, the jazz.com URL has always been one of the most prized and valuable addresses since the Internet came into general use in the ‘90s. The jazz.com site was launched in December 2007, after over two years of preparation. Among its unique features is the review of single tracks, as opposed to the usual album focus. In addition, the site includes Lewis Porter’s Encyclopedia of Jazz Musicians, with well over 1,000 entries. A noted author himself, Gioia has written several books, including <I>The Delta Blues</I>, <I>The History of Jazz</I>, <I>West Coast Jazz</I> and, most recently, <I>The Birth (and Death) of Cool</I>. According to the bio on his Web site, Gioia has written for the <I>New York Times</I>, the <I>Los Angeles Times</I>, <I>Salon</I>, <I>American Scholar</I>, <I>Hudson Review</I> and the <I>San Francisco Chronicle</I>, among other publications. Gioia is also an accomplished jazz pianist; his recordings include <I>The End of the Open Road</I> (1988), </I>Tango Cool</I> (1990) and <I>The City Is a Chinese Vase</I> (1998). His brother, Dana Gioia, is the former chairman of the National Endowment for the Arts and himself a lifelong advocate for jazz. true 129 2009-11-16T11:51:53-05:00 false 25325 true 89 2009-11-17T09:00:00-05:00 2009-11-17T09:00:00-05:00

Editor for jazz web site launched in 2007 steps down with no comment about the site's future

2009-11-18T09:25:19-05:00

4 While on tour in Europe, saxophonist Joe Lovano suffered injuries in two separate incidents and ended up with both arms broken. A representative of Joe’s management at International Music Network confirmed the injuries today. Apparently, Joe suffered a fall after his performance in Lausanne on the 30th of October. As a result of the fall, he suffered three hairline fractures in his upper left arm. Ever the trouper, Joe decided to continue the tour with his arm in a sling. Unfortunately, while walking in Barcelona on the morning of the 2nd, he tripped and fell. In an attempting to avoid further injury to his broken left arm, he took the fall on his right arm. And, yes, that arm was injured in similar fashion. At that point, the remainder of his European tour with his nonet was cancelled. The good news is that his wife Judi Silvano was able to join him in Spain where the decision was made to have surgery. Management confirms that he’s been in the US now for about a week, while recovering and undergoing physical therapy. They said that he should be up and playing regularly again in 4-5 weeks. The JT staff wishes Joe a speedy recovery. Fans and colleagues can send get well wishes to Joe c/o his management: info@imnworld.com true 129 2009-11-16T15:30:56-05:00 false 25326 true 89 2009-11-16T15:30:00-05:00 2009-11-16T15:30:00-05:00

Saxophonist suffers injuries in left and right arms in separate accidents while on tour in Europe

50299 2009-11-17T10:15:55-05:00

4 It’s been 50 years since Dave Brubeck released <I>Time Out</I> for Columbia Records. Now he intends to celebrate that milestone with three nights of performances at <A HREF=http://bluenotejazz.comt>The Blue Note</a> in New York City, from Friday, November 27 through Sunday, November 29. Performing with Brubeck will be his long-time band featuring Bobby Militello on saxophones, clarinet and flute; Michael Moore on bass, and Randy Jones on drums. Brubeck had already tasted some commercial success with his <I>Jazz at Oberlin</I> album, but the reaction of the public towards <I>Time Out</I> was beyond the expectations of the musicians and the label. <I>Time Out</I> was recorded in 1959 with perhaps Brubeck’s most famous group with Paul Desmond on sax, Eugene Wright on bass and Joe Morello on drums. Almost immediately after release, the album became a best-seller, as rare then as now for a jazz recording. Its success was propelled in no small part by two hit singles. Desmond’s “Take Five” with its tricky time signatures went on to become one of the most performed songs in the jazz book and Brubeck’s “Blue Rondo ala Turk” based in part on a Turkish folk melody likewise became a standard. Both songs appeared in jukeboxes all over the country. To this day, “Take Five” is one of the only straight-ahead jazz songs that are played on Smooth Jazz radio stations. Although that band eventually broke up in 1967, the group toured all over the world and Brubeck became known as an ambassador of jazz. And no matter where he played, whether it be a college campus in the Midwest or an embassy in the Middle East, audiences clamored to hear songs from <I>Time Out</I>. In recognition of a half-century passing since that album’s release, Sony/Legacy released a special 3-disc edition of <I>Time Out</I> featuring the original album (remastered for the first time since 1997) in its entirety, a CD of eight previously unreleased live performances from the 1961, 1963 and 1964 Newport Jazz Festivals, and a DVD with a 30-minute documentary on the making of <I>Time Out</I>, with an exclusive Brubeck interview, extensive performance footage and more. A week later, on December 6, 2009, on his 89th birthday, Brubeck will be honored at the Kennedy Center as part of that institution’s prestigious Honors Gala, <A HREF=http://jazztimes.com/articles/25046-dave-brubeck-named-kennedy-center-honoree>previewed at jazztimes.com</a> earlier this year. true 129 2009-11-13T17:45:08-05:00 false 25321 true 89 2009-11-16T07:00:00-05:00 2009-11-16T07:00:00-05:00

Legendary pianist will also be part of Kennedy Center Honors a week later in Washington, D.C.

2009-11-18T09:25:56-05:00

4 <b>Nov. 15:</b> Gus Johnson (1913-2000), Jerome Richardson (1920-2000), Neil Swainson (1955), Kevin Eubanks (1957) <b>Nov. 16:</b> W.C. Handy (1873-1958), Eddie Condon (1905-1973) <b>Nov. 17:</b> George Masso (1926), David Amram (1930), Roswell Rudd (1935) <b>Nov. 18:</b> Johnny Mercer (1909-1976), Claude Williamson (1926), Sheila Jordan (1928), Don Cherry (1936-1995), Bennie Wallace (1946), Cindy Blackman (1959) <b>Nov. 19:</b> Tommy Dorsey (1905-1956), Billy Strayhorn (1915-1967), Bill Allred (1936), Kenny Werner (1951), Vincent Herring (1964) <b>Nov. 20:</b> June Christy (1925-1990), Geoff Keezer (1970) <b>Nov. 21:</b> Charlie Johnson (1891-1959), Coleman Hawkins (1904-1969), Sal Salvador (1925-1999), Peter Warren (1935), Alphonse Mouzon (1948), Rainer Bruninghaus (1949) true 261 2009-11-15T14:13:09-05:00 false 25323 true 89 2009-11-15T00:00:00-05:00 2009-11-15T00:00:00-05:00

Roswell Rudd, Vincent Herring among those celebrating this week

2009-11-16T07:45:36-05:00

4 On Thursday, Nov. 19, the Graduate Center at the City University of New York (CUNY) will present a rare conversation with Manfred Eicher, the ECM Records founder and producer whose label has released some of the most important jazz, experimental, world and contemporary classical recordings of the last 40 years. Interviewing Eicher will be the award-winning critic and author Gary Giddins (whose <i>Jazz</i>, a new, definitive history written in collaboration with Scott DeVeaux, is <A HREF=http://www.amazon.com/Jazz-Gary-Giddins/dp/0393068617/ref=sr_1_1?ie=UTF8&s=books&qid=1258174741&sr=8-1>available now</a>). This is reportedly only the second time the label head has given a live interview with an audience in the U.S., and Giddins plans to lead a comprehensive chat covering Eicher's lengthy career. “We’re going to talk about the whole range, how he got started and how he continues when everybody else does not,” said Giddins, who also marveled at Eicher’s reputation for overseeing the entire record-making process: “Apparently he’s the most hands-on guy in the [business].” The CUNY event, part of the Jazz Legends & Legacies series, promises to be an engaging dialogue with the architect of one of jazz’s most enduring brands. "It's a pretty big deal," said Giddins. "People are curious about him." Details are below: Thursday, Nov. 19, 6:30 p.m. Proshansky Auditorium The Graduate Center, CUNY 365 Fifth Ave (at 34th St) Event is free and open to the public For more information, call (212) 817-2005 For an interview with Eicher by Steve Lake, excerpted from the 2007 Granta book <I>Horizons Touched: The Music of ECM</I>, click <A HREF=http://jazztimes.com/articles/19205-ecm-records-manfred-eicher-the-free-matrix>here</a>. To read Gary Giddins’ <I>JazzTimes</I> Cadenza columns, go <A HREF=http://jazztimes.com/sections/cadenza/articles>here</a>; Giddins' official Web space is <A HREF=http://www.garygiddins.com/>www.garygiddins.com</a>. true 292 2009-11-13T23:49:49-05:00 false 25322 true 89 2009-11-13T00:00:00-05:00 2009-11-13T00:00:00-05:00

A rare interview with the ECM mastermind by jazz's premier critic

2009-11-16T15:37:10-05:00

4 We’re not going to waste your time with jokes about patchouli oil or Bonnaroo: Marco Benevento and Charlie Hunter, two jazz-trained players who have no qualms with pop, have new or forthcoming product worth seeking out. For Benevento fans there’s <I>Marco Benevento & Friends—Live in NYC: The Sullivan Hall Residency</I>, a DVD released yesterday on the Royal Potato Family label. The concert film, directed by Karina Mackenzie for Shine a Light Productions, includes highlights from Benevento’s January 2008 residency at Sullivan Hall in NYC’s Greenwich Village. For five Thursdays, the Brooklyn-based keyboardist arranged collaborations with a who’s who of jazz-minded folks from the downtown and jam-band scenes. Featured players include drummer Joe Russo, Benevento’s partner in his popular Duo; and bassist Reed Mathis and drummer Andrew Barr, members of his working trio. Other guests include drummers Billy Martin, Bobby Previte and G. Calvin Weston; saxophonists Skerik and John Ellis; guitarists David “Fuze” Fiuczynski, Brad Barr and Kaki King; bassist Marc Friedman and slide trumpeter Steven Bernstein. To check out the trailer click <A HREF=http://www.youtube.com/watch?v=ejgvKv7GwUQ>here</a>; for a clip of Benevento locked into hefty riffs with Russo and Brad Barr on “Megafauna,” go <A HREF=http://www.youtube.com/watch?v=m_xIi54sMdw>here</a>. Benevento, Skerik and Moore can also be heard on <I>Power Patriot</I> (Mega Force), the recently released full-length from Garage a Trois. On Jan. 12, seven- and eight-string guitarist Charlie Hunter will release <I>Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid</I> on his Spire Artist Media label. (The album will be available in brick-and-mortar retailers on that date and online at <A HREF=http://www.reapandsow.com/>reapandsow.com</a>.) Inspired in part by Lester Bowie’s Brass Fantasy, and following recent brass-heavy projects led by Dave Douglas and Roswell Rudd, Hunter has enlisted a groove-savvy lineup including trombonist Curtis Fowlkes, trombonist Alan Ferber, trumpeter Eric Biondo and drummer Eric Kalb. After previewing the record this afternoon, we can safely say longtime Hunter devotees should be thrilled. It’s a great-sounding recording, with streamlined analog production that’s squeaky clean without being sterile—there’s a terrifically organic, old-school vibe to this one. The album follows last year’s more electronic <I>Baboon Strength</I> with keyboardist Erik Deutsch and drummer Tony Mason, and, with a beautifully empathetic horn section, it underscores Hunter’s strengths: pop melodicism, postbop improvisation, an innate feel for R&B and funk, and convincing hard-blues technique. Hunter will surely pull some of the new tunes out early next year at Rose Live Music in Brooklyn, where he starts a four-week Tuesday night residency on Jan. 5. For more information on Hunter, visit his <A HREF=http://www.charliehunter.com/>official site</a>. For more on Rose Live Music, go <A HREF=http://roselivemusic.com/>here</a>. true 292 2009-11-11T23:20:44-05:00 false 25316 true 89 2009-11-11T00:00:00-05:00 2009-11-11T00:00:00-05:00

Hunter to release new album in Jan.; DVD from Benevento available now

2009-11-13T23:50:35-05:00

4 If there ever were an audio analogy to <i>JazzTimes</i>’ Overdue Ovation column, it’d be the Talking House label’s “Blueprints of Jazz” series, whose albums by Mike Clark, Billy Harper and Donald "Duck" Bailey count among 2009’s most welcome recordings. The third installment in the Blueprints series, released back in March, features Philly-born, Oakland-based drummer (and harmonica player) Bailey in a grittily swinging quintet with bassist Tyrone Brown, pianist George Burton, saxophonist Odean Pope and trumpeter Charles Tolliver. Bailey’s album is the kind of unassuming killer that slips under many critics’ radar but is worth seeking out: it’s rugged in all the right places, evoking the sort of inside/outside hard bop, blues and modal playing of your favorite ’60s and ’70s vinyl. The 76-year-old drummer will appear this Wednesday and Thursday at Yoshi’s in Oakland, in a tribute performance featuring saxophonist Charles McPherson, keyboardist Chester Smith, guitarist Bruce Forman and more. (The concerts will also act as benefits for Bailey, who has been struggling economically and has health problems.) Shows begin at 8 p.m. each night; for tickets and more information, visit the <A HREF=http://www.yoshis.com/oakland/jazzclub/artist/show/987>Yoshi’s</a> site or call (510) 238-9200. Cover charge is $20. For more on Bailey’s career, including his influential tenure with Jimmy Smith, read Shaun Brady’s <A HREF=http://jazztimes.com/articles/21264-donald-bailey-philly-soul>March 2009 Opening Chorus profile</a>. You’ll also want to check out Lee Hildebrand’s <A HREF=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/11/06/PKL21ABM83.DTL>recent <i>San Francisco Chronicle</i> feature</a>. To purchase Bailey’s album, visit the <A HREF=http://www.threcords.com/?product=17>Talking House</a> site. true 292 2009-11-10T21:03:13-05:00 false 25314 true 89 2009-11-10T00:00:00-05:00 2009-11-10T00:00:00-05:00

Tribute performances will feature Charles McPherson, Bruce Forman, more

2009-11-11T23:21:22-05:00

4 No jazz on television? Tain't necessarily so. For example, smooth jazz fans and guitar freaks may want to tune in to the Late Night with Jimmy Fallon Show on NBC tonight at 12:35 AM ET/PT (yes, technically that would be tomorrow) to check out an appearance by guitarist George Benson. The noted guitarist will perform a few of his older songs as well as tunes from his new album <I>Songs & Stories</I> from Concord Records/Monster Music. For more information about this appearance and other Benson sightings, you can check out <A HREF=http://georgebenson.com> George Benson's official web site</a>. true 129 2009-11-09T17:46:48-05:00 false 25312 true 89 2009-11-09T17:45:00-05:00 2009-11-09T17:45:00-05:00

Jazz guitarist to perform and sit in with band throughout show

2009-11-10T17:41:00-05:00

4 <b>Nov. 8:</b> Chris Connor (1927-2009), James Clay (1935-1994), Bertha Hope (1936), Don Byron (1958), Russell Malone (1963) <b>Nov. 9:</b> Mezz Mezzrow (1899-1972), Pete Brown (1906-1963), Muggsy Spanier (1906-1967), Jesse Davis (1965) <b>Nov. 10:</b> Billy May (1916-2004), Paul Bley (1932), Houston Person (1934), Andrew Cyrille (1939), Hubert Laws (1939) <b>Nov. 11:</b> Gunther Schuller (1925), Mose Allison (1927), Ernestine Anderson (1928), Hannibal Marvin Peterson (1948), Gerry Brown (1951), Kahil El-Zabar (1953), James Morrison (1962) <b>Nov. 12:</b> Buck Clayton (1911-1991), Charlie Mariano (1923-2009), Sam Jones (1924-1981) <b>Nov. 13:</b> Bennie Moten (1894-1935), Blue Lu Barker (1913-1998), Hampton Hawes (1928-1977), Idris Muhammad (1939), Janet Lawson (1940), Tony Lakatos (1958) <b>Nov. 14:</b> Art Hodes (1904-1993), Clancy Hayes (1908-1972), Billy Bauer (1915-2005), Ellis Marsalis (1934), George Cables (1944) true 261 2009-11-08T20:32:30-05:00 false 25309 true 89 2009-11-08T00:00:00-05:00 2009-11-08T00:00:00-05:00

Russell Malone, Paul Bley among those celebrating this week

2009-11-08T20:32:30-05:00

4 On Sunday, November 15, bassist Ike Sturm will celebrate the official release of his self-produced JazzMass recording with a special performance at St. Peter’s Church, where he works as the jazz music director. The performance will feature most of the original players on the CD, including Donny McCaslin, as well as a choir with singers from St. Peter’s, the Union Seminary and the jazz community.. Despite its decidedly secular origins, jazz has a long-standing connection to religion, in part because many jazz musicians got their start playing music not in a conservatory, but in a church..Many jazz artists have composed and performed music with a decidedly religious or spiritual bent, while a few, such as Duke Ellington and Dave Brubeck, have gone so far as to compose material for use in mass or services. In turn, an increasing number of churches have embraced jazz in its services. So St. Peter’s Church on Lexington Avenue in midtown Manhattan is not the only church to incorporate jazz into its services and programs. Even a Lutheran church in my suburban Maryland neighborhood boasts of its weekly jazz mass. But St. Peter’s has not only led the way in bridging the two worlds, but it continues to be a focal point for jazz-related services. Like most movements or trends, it began with the vision of one man. The Reverend John Gensel who brought jazz to that church many years ago. Nat Hentoff, in his <A HREF=http://jazztimes.com/articles/20762-the-shepherd-of-the-night-flock> first piece for JazzTimes</a> in 1998, remembered his unique position in the jazz world: “When Pastor John Garcia Gensel entered a jazz club, as he very often did, he was warmly welcomed by the musicians—and by those of the laity who had come to know him as an integral part of the jazz scene. Pastor Gensel was on the staff of Saint Peter’s Church in New York, but he had a special beat, as journalists say. His ministry was to serve the jazz community. He presided at memorial services for jazz musicians who had finished their last chorus. And early every Sunday evening, he was there to present—and manifestly enjoy—jazz vesper services. " Sturm was very aware of Gensel’s legacy. “I had heard about him before I came to NYC. My father is a jazz musician [Fred Sturm, head of the jazz program at Eastman School of Music]. Unfortunately I never met Reverend Gensel, but his legacy has an effect. You always feel it. There’s this sense of someone who’s come before you and all the heart and dedication that they put in. I don’t take it lightly.” However, Sturm is quick to point out how important it is to keep the church’s music program pointed toward the future. “In the past, the idea of doing jazz vespers was an exceptional thing. Now it’s pretty common. I don’t know the numbers, but there’s no question that there are a lot out there. We’re always discussing now what the next step will be.” In some regard, Sturm’s creation of the Jazzmass is part of that next step. He created the piece originally to salute Gensel’s successor Reverend Dale Lind who recently retired. “I wanted to honor him with a piece. But my dream for this project is to share it.” Lest you think Sturm is just another musician hocking his wares in the marketplace, the reality is that his interests are much more altruistic and communal. “The idea is to bring the music to a community with the local musicians and put everything together. I wanted it to be a community-based project, with churches bringing people together to work on music.” Indeed, the structure and arrangement of the piece was created with the resources of your average church in mind: basic jazz group, plus a choir and string section. “The parts for the strings and choir are pretty straight,” explained Sturm. Perhaps the most impressive thing about the work is its accessibility. The music is familiar, yet interesting. The arrangements are arresting, but not jarring, with simple melodies and beautiful harmonies. Was that part of his plan to make the music so beautiful that non-religious folks might not know they’re listening to church music? “To be honest, I didn’t think about it. I brought my own interests to it. All of the musical influences in that piece—gospel, spirituals, hymns, jazz—are part of my musical heritage. And I’m used to taking all that different stuff and putting it into a modern context. I like music that has its feet in different areas. While working on the piece, he experienced for himself how separate the secular and spiritual communities could be. In one of the early performances of the piece at Union Seminary, Sturm used students from nearby Manhattan School of Music. Many of the students told him that they had never noticed that famous church in their neighborhood. “I’d like to see those worlds collide.” And it goes both ways. “For people that come from a religious background with limited experience with jazz, this music gives them a chance to hear and do something different. People seem to appreciate it from wherever they come from.” Now that the piece has been done, Sturm is most gratified that it’s inspired other musicians to compose similar pieces. “I hear all the time, ‘I want to write something like that!’ There are a few things out there—by Duke Ellington or Dave Brubeck, but people are hungry for new material.” For more information about Jazzmass and Sturm’s work in and out of the church, go to his <A HREF=http://ikesturm.com>web site</a>. true 129 2009-11-07T11:47:55-05:00 false 25298 true 89 2009-11-07T12:00:00-05:00 2009-11-07T12:00:00-05:00

Bassist Ike Sturm balances career as working jazz musician with role as music director of St. Peter’s Church in NYC

2009-11-10T21:05:52-05:00