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 true 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

2009-11-07T12:08:57-05:00

4 Next week, jazz saxophonist Najee returns to the neighborhood of his childhood as he makes a series of appearances at schools in the Queens area. Najee grew up in the Jamaica, Queens area, where he will be appearing at York College on Monday, November 16 in a special workshop and performance that is free to the public. Start time is 7 pm at the newly renovated Illinois Jacquet Performance Space. York College/CUNY is located at 9420 Guy R Brewer Blvd. in Jamaica, Queens. For Najee, the chance to come back to his old neighborhood is a great feeling. “It’s like shaking hands with your past,” he told JT. Najee went to August Martin High School, which specialized in aviation (school motto: “Where dreams take flight”). In fact, he wanted to be a pilot, but inspired by great music teachers there, he chose a different path. And, at an impressionable age, Najee was deeply influenced by the noted Jazzmobile program, in which Jimmy Heath offered a master class in saxophone. “I was one of the kids who were fortunate enough to learn from someone like that, as well as from Frank Foster and Frank Wess,” Najee recalled. “You know, you don’t always realize how special something like that was until later. What a great opportunity I got.” Hello, jazz. Goodbye, aviation. Najee clearly hopes to have that same sort of effect on kids with his appearances that are a combination of lecture, workshop and performance. “We usually start it with a question-and-answer session. The kids mostly want to know about my development in the industry. How do you make it? Then we get a few student musicians who have real technical questions. The discussion is pretty broad. Then I sit in with the faculty who can play. It will be nice.” It would seem to this writer that your average kid in middle school or high school these days wouldn’t have a ton of interest in jazz or smooth jazz. But Najee confessed that he is unfazed by that. “First, they have some knowledge of my popular success. And there are always certain kids who are gifted and are excited by a workshop. And I feel that this is directing them in a positive way.” For Najee, this is not some sort of theoretical.notion, as one Buffalo high school student recently learned. Najee took this student, a keyboardist, out on the road with him this past summer as his second keyboardist, and the kid not only got valuable road experience (and income!), but also got a credit on <A HREF=http://jazztimes.com/articles/25110-mind-over-matter-najee>Najee’s CD</a>. This fall the young man enrolled in Berklee. Score one for the outreach team. Here is a complete list of Najee’s appearances in New York area: THURSDAY, 11/12 10:30 am – Workshop/performance at Bayside High School in Bayside, Queens. As a special highlight, the school band will perform a song from Najee's CD for him. 1:30 pm – Workshop/performance at Louis Armstrong Middle School in East Elmhurst, Queens. FRIDAY, 11/13 7:00 pm – Listening Party with Najee at Billie’s Black Bar/Lounge in Harlem, NY. MONDAY, 11/16 7:00 pm – Workshop/performance at York College in Jamaica, Queens. The event is free and open to the public. Najee’s latest CD is <I>Mind Over Matter</I> on the Heads Up label. true 129 2009-11-05T14:49:28-05:00 false 25294 true 89 2009-11-06T08:00:00-05:00 2009-11-06T08:00:00-05:00

Jazz saxophonist Najee makes special appearances November 12-16 at schools in the Queens neighborhood of New York City

51909 2009-11-07T12:09:37-05:00

4 Art D’Lugoff, the owner of The Village Gate nightclub located in the heart of Greenwich Village for over 40 years, died on Wednesday, November 4, 2009 in Riverdale, N.Y. D’Lugoff was 85 years old. After producing concerts around New York City for several years, D’Lugoff and his brother Burt opened the Gate, as it was informally called, in 1958. He booked many of the greatest names in jazz, such as Miles Davis, Dizzy Gillespie, Thelonious Monk, Billie Holiday and Duke Ellington. Located in the heart of the Village near the corner of Bleecker and Thompson Streets, the club also featured comedy and among the famous comedians who performed there, way before they became famous, were Bill Cosby, Woody Allen and Mort Sahl. Among the nearly apocryphal stories told about D’Lugoff were that he turned away Bob Dylan and that he fired Dustin Hoffman (as a waiter). Of course, many clubs and promoters rejected Dylan in his early years in New York City, but the story speaks as much about D’Lugoff’s unique combination of self-confidence and humility. D'Lugoff was involved with yet another generation of comics as a producer of shows connected with the National Lampoon comedy group. Among the noted comedians in those productions were John Belushi, Chevy Chase and Christopher Guest. All his life D'Lugoff was passionate about Latin music, which he booked and promoted at the club, most famously in a weekly series he called Salsa Meets Jazz. That series helped to popularize Latin music to the downtown scene and strengthen the connection between the jazz and Latin music communities. D’Lugoff was also proud that the series brought together different audiences who shared a common love of the music and dancing. When the club shut down in 1994, D’Lugoff tried to start another club elsewhere in the city, but never was able to gain the necessary funding or traction. For many years, D’Lugoff also devoted himself to raising funds for and establishing a museum in NYC devoted to jazz. However, the museum as he envisioned it was never able to take hold, though the efforts did end up helping to create the Jazz Museum of Harlem, now under the direction of Loren Schoenberg. The site of the Gate is now inhabited by Le Poisson Rouge (for those who didn’t take French in high school, that’s The Red Fish), a nightclub that embraces perhaps a more modern version of D’Lugoff’s original vision. In fact, D’Lugoff collaborated with the young owners of that club to revive his Salsa Meets Jazz series. Last year in a piece about that partnership, D’Lugoff told New York Times writer Albert Gonzalez: “My emphasis has always been on picking artists who please the public, please me and give me a living, I was thankful if I could break even. I never was interested in just making money — not that I have anything against that. But I did what I wanted. I did different things.” D’Lugoff is survived by his wife, three daughters and a son. true 129 2009-11-05T15:47:50-05:00 false 25295 true 89 2009-11-05T15:50:00-05:00 2009-11-05T15:50:00-05:00

Owner of The Village Gate, renowned Greenwich Village club, gave start to Woody Allen, Bill Cosby, Miles Davis and other major figures in popular music and comedy.

2009-11-06T08:51:16-05:00

4 The audience at Jazz at Lincoln Center is going to have to loosen a few buttons on the weekend of November 13-14, because funk jazz legend Maceo Parker is coming to town for shows at the Allen Room. Parker, who is probably best known for his stint with James Brown, will be making his first appearance at Jazz at Lincoln Center. According to a press release received from that organization, “he will be playing and singing music he recorded with James Brown and classic R&B tunes from his recent salute to Ray Charles.” On his recent CD <I>Roots and Grooves</I>, Parker paid tribute to his long tenure with both Brown and Charles with a collaboration with the WDR Big Band and Orchestra. Some fans may have been surprised that Parker could sing so well, very much in the mode of the Genius of Soul. In a <A HREF= http://jazztimes.com/articles/18374-maceo-parker-a-brand-new-bag>profile in the March 2008 issue</a> of JazzTimes, Parker told writer Bill Meredith: “I’ve always sang. I have fun doing it, especially live. Once I started, I discovered that my natural voice was close to Ray’s.” Shows are at 7:30 PM and 9:30 PM and will be held at The Allen Room in Frederick P. Rose Hall, Home of Jazz at Lincoln Center, on Broadway at 60th St. in NYC. Tickets at $55 and $65 are available at the Jazz at Lincoln Center Box Office on Broadway at 60th St., by calling CenterCharge at 212.721.6500 or via the <A HREF=http://www.jalc.org> Jazz at Lincoln Center web site</a>. true 129 2009-11-05T11:07:14-05:00 false 25293 true 89 2009-11-05T11:15:00-05:00 2009-11-05T11:15:00-05:00

Funk jazz saxophonist Maceo Parker makes special appearance at Lincoln Center on November 13-14, 2009

2009-11-06T12:11:03-05:00

4 Entries are now being accepted for the Jazz Competition at the Next Generation Festival, presented by the same folks who bring us the Monterey Jazz Festival. The Next Gemeration Festival happens April 9-11, 2010 at the Monterey Conference Center in Monterey, Calif. The festival annually attracts school bands from all over the world. The competition has numerous categories, including Middle School, High School, Conglomerate High School, and College Big Bands; High School and College Vocal Ensembles; High School Combos; and their newest division, Open Combos, open to any combination of College and/or Conglomerate High School ensembles. High School composers can enter the Composition Competition, with the winning piece to be premiered at the Festival. Student musicians (High School or younger) are also invited to audition for the Next Generation Jazz Orchestra, which performs on a two-week tour next summer and at the Monterey Jazz Festival in September. For more information go to the <A HREF= http://www.montereyjazzfestival.org/2009/NGF/index09.php>festival’s site</a>. true 129 2009-11-04T15:32:30-05:00 false 25265 true 89 2009-11-04T21:00:00-05:00 2009-11-04T21:00:00-05:00

Competition is part of Sixth Annual Next Generation Festival during April 9-11, 2010

51783 2009-11-05T15:56:20-05:00

4 Jua Howard, a 30-year-old singer from Chicago, has just been named the first recipient of the newly established Mark Murphy Vocal Jazz Scholarship, according to a press release received today from <A HREF=http://jazzschoolinstitute.org>Jazzschool Institute</a> Vocal Director Laurie Antonioli. "Mark's influence has inspired not only my singing," said Antonioli in the release, "but my devotion to jazz education, as he was my first vocal teacher." Antonioli performed with other Bay Area vocalists (and Murphy protégées) Kitty Margolis, Madeline Eastman, Ann Dyer, Bobbe Norris, and Joyce Cooling, at an October 20 fund-raiser at Yoshi's in Oakland. For more information about the event and its inspiration, check out <A HREF=http://jazztimes.com/articles/25168-mark-murphy-to-be-honored-at-event-at-yoshi-s-in-oakland>the story from October 13</a> on jazztimes.com "We selected Jua Howard, a young man who is not only talented but very motivated to graduate," said Antonioli. "We're thrilled that we are able to help him realize his goals and dreams by presenting him with the first Mark Murphy Vocal Jazz Scholarship." Howard attended the Murphy tribute concert at Yoshi's but was unaware that he was being considered for the scholarship. "I am forever grateful to [Jazzschool Founder/Director] Susan Muscarella and Laurie Antonioli for believing enough in me to support my dream of being a world-class jazz artist," said Jua. "I sacrificed a lot to move to San Francisco and attend the Jazzschool Institute, but I think this is God's way of telling me I made the right choice. I plan to represent the scholarship's namesake and the Jazzschool Institute to the best of my abilities." A graduate of Emory University in Atlanta, Jua relocated to Washington, DC in 2002 and was a background vocalist with the Blackbyrds. After recording and releasing his debut album, <I>Anticipation</I> in 2007, he found himself drawn more and more to jazz and eventually made the commitment "to equip myself with the necessary tools. That is why I decided to go back to school." The Jazzschool Institute Vocal Program "focuses on developing the solo artist rather than the Vocal Jazz Ensemble format you find in many universities and colleges," said Antonioli. "We have a world-class band accompanying the vocal students, and they are encouraged to build a repertoire that is both historically relevant and personally suited. The fine art of vocal jazz is a tradition we want to nurture in young singers, and we look forward to having many creative voices pass through our program. We also encourage anyone who'd like to support this art to donate to the Jazzschool Institute Mark Murphy Vocal Jazz Scholarship fund." Contributions to the Murphy scholarship are tax-deductible and may be made by check (made payable to the Jazzschool) or credit card (by calling the Jazzschool at 510-845-5373). true 129 2009-11-04T19:27:34-05:00 false 25267 true 89 2009-11-04T19:30:00-05:00 2009-11-04T19:30:00-05:00

Jua Howard receives scholarship to study vocal jazz at JazzSchool in Berkeley, Calif.

51797 2009-11-04T19:34:18-05:00

4 Calling all bassists! On Wednesday, November 4, legendary bassist Ron Carter will present “All Alone,” a workshop geared to bassists, at David Gage String Instruments in New York City. The workshop starts at 7:15 pm. The store is located at 36 Walker Street. Tickets are available through the store’s <A HREF=http://davidgage.com> web site</a> or by calling 212-274-1322. Interestingly, those attending are asked NOT to bring their instruments, as David Gage will provide the basses for the evening. After the workshop, Carter will also be signing copies of his authorized biography, <I>Ron Carter: Finding the Right Notes</I> written by Dan Ouellette, and recently reviewed at <A HREF= http://jazztimes.com/articles/25135-ron-carter-finding-the-right-notes-dan-ouellette>jazztimes.com</a>. That book is available from <A HREF=http://artistshare.com>ArtistShare</a> or from Carter’s <A HREF=http://roncarter.net> web site</a>. For those of you located outside the NYC area, have no fear. All workshops in this series can be seen on the web by stream or download at <A HREF=http://mikesmasterclasses.com>Mike’s Master Classes</a>. In addition to this workshop by Carter, the store will be hosting the Bradetich Foundation Benefit Concert this Sunday, November 8 at 4 pm. The concert will feature performances by Jon Deak, Tim Cobb, Rufus Reid, Louisa Womack and Jeff Bradetich. All donations will go to support the educational outreach of the Foundation and the International Double Bass Solo Competition in June 2010. Suggested donation is $50 per person. Seats must be reserved by November 5th by email to Judy Gage at: judy.gage@davidgage.com or phone 212-274-1322. true 129 2009-11-04T10:49:31-05:00 false 25264 true 89 2009-11-04T11:00:00-05:00 2009-11-04T11:00:00-05:00

Noted jazz bassist to present workshop “All Alone” at David Gage String Instruments in New York City

2009-11-04T22:14:31-05:00

4 Over the last few years, the <A HREF=http://pdxjazz.com>Portland Jazz Festival</a> has gone through its share of changes. Most recently, the founder and long-time producer of the festival, Bill Royston, stepped down and was replaced by jazz publicist and industry leader Don Lucoff, who for many years has worked as a consultant with many of the major jazz festivals. Lucoff said that Royston will remain active with the festival as its artistic director. “Bill essentially wanted to retire from the day-to-day operations of the festival and concentrate on simply booking the festival and managing the programming. Over the years, he’s done all of the things you have to do to run a festival. He’s gotten to the point where he wants to do what he likes best and that’s program the festival. I know what that’s like. I look at my own situation as a publicist and I don’t want to step completely away from that either, but I am looking forward to new challenges.” Perhaps the biggest challenge has already been met. Earlier this year, overwhelmed by declining sponsorship and rising costs, the festival declared bankruptcy. Lucoff said that the publicity about the festival’s economic problems actually led to its rescue by its now title sponsor. “The folks at Alaska Airlines saw the article and stepped in as title sponsor to save the festival. They felt the festival made an important contribution to the community. And they consider the Portland area an important market for them.” The festival also is now getting support from USBank as its presenting sponsor, as well as various community organizations who have provided important in-kind support. [Full disclosure: <I>JazzTimes</I> is one of the sponsors of the festival. The publication sponsors approximately 20 festivals throughout the world.] Lucoff is particularly grateful for the support of the local radio station—KMHD FM. “When you have a community-minded radio station, that can really unite a jazz community. I’ve been listening to the station a lot and I hear such a range in programming. It almost harkens back to the early days of free-form radio.” One of his major goals for the festival that takes place February 22-28, 2010 is to further develop the audience for jazz in the Portland area. “I’ve been doing the national press for Portland for the past two years and I have seen that a lot of the national artists pass the city by. They go from Seattle to San Francisco to Los Angeles. And the audience here wants to hear national artists. And there are also lots of interesting newer younger musicians based here. There’s a younger demographic associated with the downtown culture. It’s a very hip place. A very different kind of city. Very progressive. The audience here has been clear in its preferences.” The programming is fairly progressive with performances by American jazz artists such as Pharoah Sanders, Dave Douglas’s Brass Ecstasy, Luciana Souza, Mingus Big Band, Dave Holland Quintet, as well as Norwegian artists Trygve Seim & Frode Haltli, In the Country, and the Christian Wallumrød Ensemble (see schedule below). Lucoff contends that the festival is often ahead of the curve when it comes to programming, in part because of Royston’s vision and in part because it takes place in February, and not in the summer like so many US festivals. “Because our festival occurs early in the year, we see that a lot of the other festivals are waiting to see how our programming works out. It’s a barometer of sorts.” The festival has always had new wrinkles in its programming, previously having done extensive tributes to iconic labels ECM and Blue Note. This year is no exception with a theme of jazz from Norway. Norway? Lucoff explained that,“Bill spent time at the Konigsberg Festival there and was very impressed with the talent from that area. And did you know that the Portland area has the highest percentage of people with Scandinavian roots? Our Norwegian programming is taking place at the Norse Hall, run by the Knights of Norway. So there is a tangible connection there. But what it comes down to is that we’re trying to present a younger generation of artists to develop our future audience.” The idea that important new voices in jazz are coming from that area has been espoused in recent years by several critics, including Stuart Nicholson. Not coincidentally, the festival is also using Nicholson’s manifesto-cum-book <I>Is Jazz Dead</I> from 2005 as a theme of sorts. The theme of the 2010 Festival is the unique and clunky “Is Jazz Dead (Or Has It Moved to a New Address)? — New Music from Norway.” Denying that they were making some grand statement about the state of jazz, Lucoff said that instead, “We’re just trying to get a dialogue going here and raise questions.” Lucoff also sees the festival as part of a seismic shift from East to West in relation to the strength of the festivals in the region. “If you look at the festivals on the West Coast, you can start up north with Vancouver and go down to Earshot in Seattle, then us, SF Jazz Festival, San Jose Jazz Festival, Monterey Jazz Festival and down to Playboy and Angel Jazz Festivals in LA. Those are some of the best jazz festivals in the country” Ever the sports fan, Lucoff added, “We’re in a tough conference!” “My goal in Portland is to develop programming that helps to develop the jazz audience. We want this to be a geographically all-inclusive urban festival. This year we’re expanding from the downtown to the Eastside where we see a potential young audience. We’re looking to create alternative programming. We even created a special student level membership of just $25. It’s important to have that fresh perspective.” As with most festivals, there are more than just concerts to the 10-day-plus event. “We have an educational component that’s sponsored by the Portland Trailblazers [NBA basketball team]. We have “The Incredible Journey of Jazz,” a 60 minute multi-media presentation put together by Darrell Grant of Portland State University. The presentation explains what jazz is and the roots of jazz going back to Africa. It will go out to middle schools in the area.” The festival also hosts various “Jazz Conversations” and panel sessions with artists being interviewed by notable journalists. In recent years, JT’s own Larry Appelbaum did some of these panels, including a few Before & After sessions that later ran in the magazine. It all adds up to a seven-day infusion of jazz for the Pacific Northwest city. For his part, Lucoff would like to see Portland recognized for its jazz scene even when the festival is over. “We’re also looking into how we might continue the national visibility for jazz for the rest of the year.” For more information about the festival, go to the <A HREF=http://pdxjazz.com>festival’s web site</a>. Also, JazzTimes is offering a free vacation for two to the Alaska Airlines/Horizon Air Portland Jazz Festival to a lucky reader. To enter the contest, go to the <A HREF=http://jazztimes.com/sweepstakes/11> JazzTimes SoundSweeps page</a> Schedule of Events: <B>Thursday, February 25</b> Luciana Souza Hilton Pavilion Ballroom, 7:30pm <B>Friday, February 26</B> Mingus Big Band Newmark Theater, 7:30pm In The Country Norse Hall, 9:30 pm <B>Saturday, February 27</B> Trygve Seim & Frode Haltli Norse Hall, 3:00pm Dave Holland Quintet Newmark Theater, 7:30pm Christian Wallumrød Ensemble Norse Hall, 9:30 pm <B>Sunday, February 28</B> Pharoah Sanders Newmark Theater, 3:00pm Dave Douglas Brass Ecstasy Crystal Ballroom, 7:30pm true 129 2009-11-03T17:51:57-05:00 false 25261 true 89 2009-11-03T18:00:00-05:00 2009-11-03T18:00:00-05:00

Don Lucoff, noted jazz industry publicist, takes reins from Bill Royston to run Portland Jazz Festival

2009-11-05T11:17:48-05:00

4 In case you missed the memo, jazz is now an international music. Maybe it’s the long-term result of all that jazz ambassadoring from Louis Armstrong, Dizzy Gillespie and Dave Brubeck. Maybe it’s the internet. Maybe it’s the fall of the Iron Curtain. We don’t actually know. We’ll have to leave it to some PhD candidate to properly explain why jazz musicians don’t have to come from Philadelphia or Detroit any more. But it’s true. Here at JT, we get incredible new releases from artists hailing from all over the globe—Israel, Benin, Korea, Argentina, Serbia, Philippines, Netherlands, Turkey, Peru… Well, you get the idea. <A HREF=http://putumayo.com>Putumayo</a>, the famous world music sampler company with those cool packages and displays, have recognized this demographic shift with their latest release, <I>Jazz Around the World</I>. Among the countries represented in this engaging collection are Algeria, New Zealand (no, it’s not the Flight of the Conchords), France, Mexico, Cameroon and Quebec (okay, not <I>exactly</I> a country). <I>Jazz Around the World</I> is Putumayo’s third jazz collection, joining recent releases <I>Latin Jazz</I> and <I>Women of Jazz</I>. It’s also the newest addition to Putumayo’s best-selling “Around the World” series, which includes <I>Salsa Around the World</I> (400,000 sold), <I>Reggae Around the World</I> (300,000 sold) <I>Blues Around the World</I> (125,000 sold) and <I>Tango Around the World</I> (100,000 sold). Polka Around the World anyone? Here is a track list for <I>Jazz Around The World</I>: 1.Chantal Chamberland: “La Mer” 2. Niuver: “Quiéreme Mucho” 3. Blick Bassy: “Donalina” 4.Kora Jazz Trio: “Chan Chan” 5.Heather Rigdon: “Young and Naïve” 6.Kad: “J'aime Mon Lit” 7.Sherele: “Polka Dot Blues” 8.Kataraina Pipi: “Te Reo o Papatuanuku” 9. Kélétigui Diabaté with Habib Koité & Bamada: “Summertime at Bamako” 10. Billy Cobham and Asere: “Destinos” 11.Hugh Masekela with Malaika: “Open the Door” true 129 2009-11-02T22:20:48-05:00 false 25258 true 89 2009-11-03T13:00:00-05:00 2009-11-03T13:00:00-05:00

Latest in Putumayo’s sampler series looks at jazz with an international flavor

51629 2009-11-03T18:01:40-05:00

4 Stacy Rowles, a trumpet-flugelhorn player and occasional vocalist based in Southern California, died on October 30, 2009. She was just 54 year old. Ms. Rowles was seriously injured in a car accident two weeks ago. Rowles, daughter of the pianist Jimmy Rowles, grew up with jazz and first performed at a teenager with her father at the Monterey Jazz Festival. She also appeared on a few of his recordings. She went on to a long career of her own as a member of Ann Patterson’s Maiden Voyage band as well as The Jazz Birds, which was a small-group offshoot of that band. She also performed with the Clayton-Hamilton Jazz Orchestra and other Los Angeles-based jazz groups. Her CD, <I>Tell It Like It Is</I> was released by Concord Jazz in 1984. Ms. Rowles appeared periodically on the jazz cruise and jazz party circuits. She was noted for her melodic and lyrical tone on flugelhorn. Here is a statement from her <A HREF=http://stacyrowles.com> web site</a>: “Stacy Rowles had the great good fortune to have a parent, pianist Jimmy Rowles, who was one of the Southland's most admired jazz artists. More than that, she had the opportunity to share his music and the wisdom to receive his knowledge. Jimmy Rowles probably didn't anticipate that his daughter would choose to become one of the rare female trumpet-fluegelhorn players. But their performances together afforded rare and memorable jazz pleasures. Rowles' fluegelhorn playing, even more than her trumpet work, combines a warm, often sensuous sound with briskly swinging, melodically based improvisations. Although she is better known as an instrumentalist, her warm-toned vocals move confidently from sweetly intimate balladry to in-the-pocket, swinging grooves. And watching Stacy Rowles in action, masterfully displaying her craft, one could easily imagine Jimmy Rowles, somewhere, listening to the set and smiling proudly.” true 129 2009-11-02T22:52:37-05:00 false 25259 true 89 2009-11-02T22:00:00-05:00 2009-11-02T22:00:00-05:00

Daughter of pianist Jimmy Rowles, who performed with Maiden Voyage and other noted groups, was recent victim of car accident

2009-11-03T14:24:22-05:00

4 The hot sounds of gypsy-influenced jazz guitar take over the NYC club Birdland where the Django Reinhardt NY Festival opens Tuesday, November 3. Among the artists scheduled to perform in the 10th Anniversary of this unique series are Tchavolo Schmitt and his nephew Samson Schmitt, Andreas Oberg, Ludovic Beier, Aurore Voilque and Ted Gottsegan. The festival specifically focuses on authentic gypsy jazz artists from Europe, but also includes cross-cultural collaborations through guest appearances from various American artists, as follows: Nov. 3: Joel Frahm Nov. 4: David Langlois (washboard percussionist) Nov. 5: Terrell Stafford Nov. 6: Edmar Castaneda Nov. 7: Hendrik Meurkens Nov. 8: Dominick Farinacci The festival is organized by concert and special event impresarios Pat Philips and Ettore Stratta, who also have plans to produce a 100th Birthday tribute concert to Django in February 2, 2010. Among the performers slated to perform in that concert is Dorado Schmitt, a legend in the gypsy jazz community. Schmitt will have a new CD, appropriately titled <I>Family</I> out in January 2010 on Dreyfus Jazz which is releasing a slew of recordings by artists influenced by Reinhardt. For information about the festival, you can visit <A HREF=http://birdlandjazz.com> Birdland’s web site</a>. Birdland is located at 315 W. 44th Street in NYC. Showtimes are at 8:30 & 11:00 PM. For reservations, call (212) 581-3080. true 129 2009-11-02T13:59:00-05:00 false 25257 true 89 2009-11-02T14:00:00-05:00 2009-11-02T14:00:00-05:00

Festival celebrating legacy of the gypsy guitarist includes notable European and American artists

51573 2009-11-04T11:07:17-05:00

4 <A HREF=http://jillnewmanproductions.com>Jill Newman Productions</a> is presenting the legendary vocalist and activist Gil Scott-Heron on Wednesday, November 4 at B.B. Kings Blues Club in NYC. Appearances by the outspoken singer and poet have become rarer and rarer these days, so this counts as a special event. One might expect to hear more from Scott-Heron given the current heated political and economic climate. Other than a few club shows, we haven’t heard much from the man who wrote “Johannesburg” and “Whitey’s on the Moon” and of course, perhaps his most referenced song, “The Revolution Will Not Be Televised.” Nonetheless, much of that topical music still resonates today. And with his politically-conscious lyrics set to soulful jazz grooves, Scott-Heron has influenced a few generations of rappers and hip-hop artists. Perhaps the best news of all is that the press release announcing the show says “Expect an incredible new CD in early 2010.” Given that his last distributed CD came out in 1995, this is good news indeed. Interesting trivia: Gil Scott-Heron was the first artist signed by hitmaker Clive Davis to his newly-formed record label Arista back in 1975. That’s a long from Whitney Houston and Kenny G. <A HREF=http://bbkingsbluesclub.com> B.B. Kings Blues Club</a> is located at 237 West 42nd Street, between 7th Avenue and 8th Avenue. true 129 2009-11-02T09:20:26-05:00 false 25256 true 89 2009-11-02T09:00:00-05:00 2009-11-02T09:00:00-05:00

Influential jazz vocalist and spoken-word artist makes rare appearance at NYC club

51559 2009-11-02T23:03:47-05:00

4 On Sunday, November 1, 2009, the <A HREF=http://www.sfjazz.org> San Francisco Jazz Festival</a> will present saxophonist John Handy with its Beacon Award. The ceremony will take place as part of a tribute concert at the Herbst Theatre. The award is given to someone in the Bay area community who has made a signification contribution “in preserving jazz traditions and fostering the growth of jazz in the Bay Area." Previous recipients of the award include Philip Elwood, Eddie Marshall, Mary Stallings, Pete Escovedo and JT contributor Rebeca Mauleón. Handy is perhaps best known for his jazz hit “Hard Work” in the ‘70s but he has had a long career in jazz as a bandleader and educator. He was a member of the bands of Charles Mingus for a two year period during the late ‘50s and returned to play with Mingus for various gigs and projects. Handy has released over a dozen recordings as a leader including <I>Quote Unquote</I> for Roulette, <I>Hard Work</I> for Impulse, and <I>Centerpiece</I> for Milestone. Handy settled into life in the Bay area, where he has been a full-time educator at San Francisco State University. In a press release provided to JT, Randall Kline, founder of the festival and executive director of SFJazz, said: “More than an apt and deserving recipient of the SFJAZZ Beacon Award, alto saxophone legend John Handy embodies all of the best attributes of the honor. One of the most innovative and visionary altoists in the post-bop era, he has become a magnet for fellow artists looking to explore new creative ground. From his galvanizing work with Charles Mingus in the late ‘50s and his star-making triumph at the 1965 Monterey Jazz Festival, through his pioneering world music collaborations with Indian sarod master Ali Akbar Khan and his hit 1976 R&B album <I>Hard Work</I>, Handy has blazed a brilliant trail as an improvisor, composer, bandleader and educator. Offering a potent reminder of his enduring influence, just this year the prestigious label Mosaic released a box set of the altoist’s classic quintet recordings.” Performing at the tribute concert with Handy will be many of his long-time associates and admirers, including Don Thompson, Terry Clarke, Dave Matthews, Jeff Chambers and Kenny Washington. true 129 2009-10-30T13:48:49-04:00 false 25251 true 89 2009-10-30T14:00:00-04:00 2009-10-30T14:00:00-04:00

Saxophonist honored on Sunday, November 1 by SFJazz for his contributions to the community

2009-11-02T09:22:08-05:00

4 Do you love Miles Davis? How much? How about enough to spend over $350 for a box set of his complete recordings for the Columbia label? Sounds like a lot of money, because it is a lot of money. Of course, for many of us, that’s probably less than we have already spent buying his recordings piecemeal over the years, starting with the LPs and moving to CDs with perhaps some 8-tracks and cassettes thrown in for good measure. Legacy, the aptly-named reissue division of Sony Music, has announced that <I>The Complete Miles Davis Columbia Album Collection</I> will be available exclusively through Amazon or direct from Columbia/Legacy, starting on November 24. The set includes 70 CDs and lots more. The releases span a 30-year period from 1955 and 1985, which arguably includes the trumpeter’s most significant recordings. And those old-schoolers, including this writer, who bemoan the reduction in the size of album format from LP to CD, will be pleased to know that the CDs will be packaged in Japanese style mini-LP CD and double CD jackets, replicating the original look of the albums. The box set also comes with a raft of bonus material. Buyers get a bonus DVD of the Miles Davis Quintet (yes, that Quintet) live in Europe in 1967, said to be the only video of that group ever commercially released. Four of the CDs include bonus material of rare or previously unreleased tracks As a child of the ‘70s, I’m pleased to report that it includes a CD of the historic 1970 Isle of Wight concert, featured in the DVD <I>Different Kind of Blue</I>. One continuous “song” of 50 minutes or so with Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette and Gary Bartz. Nuff said. What’s a box set without thorough and erudite liner notes? This set includes a 11,000-word biographical essay by Frederic Goaty, annotations on every album and DVD written by Franck Bergerot, rare photography, memorabilia, discographical production notes and a complete tune index. Does it sound like I’m pimping for this thing? Hey, I’m just laying it all out there for my loved ones to see the true value and significance of such a luxurious holiday gift. The list price at Amazon is $364.98 or about $5 per disc. Or just $12 a month for one year. I haven’t been great this year, but I’ve been pretty good and maybe I could get better. Here’s hoping. true 129 2009-10-30T13:52:37-04:00 false 25252 true 89 2009-10-30T14:00:00-04:00 2009-10-30T14:00:00-04:00

<I>The Complete Miles Davis Columbia Album Collection</I> available on November 24 exclusively at Amazon

51405 2009-11-02T14:04:35-05:00

4 The noted photographer Frank DeCarava died on Tuesday in New York City. He was 89 years old. DeCarava is considered one of America’s greatest photographers. His work documenting African-American life and culture set a standard for several generations of photographers. He is perhaps best known for his collaboration with Langston Hughes on <I>The Sweet Flypaper of Life</I>, which was a best-seller in its time and remains an important part of the literary canon. DeCarava often received grants for various projects, but he retained a lifelong interest in jazz. Over the years, he photographed many jazz musicians, including John Coltrane, Louis Armstrong, Thelonious Monk, Billie Holiday, Count Basie and Duke Ellington. DeCarava preferred to capture his subjects naturally with a minimum of formality and the result was an intimacy quite different from other jazz photographers of that time. His portrait of Roy Haynes from 1956 shows the drummer in profile lost in his thoughts as he practices with just his sticks. In a photo from a party in 1957, we see Hazel Scott at the piano turning to look at a reflective Billie Holiday (seated to her left), as if each is the audience for the other. DeCarava influenced many younger photographers, including Beuford Smith, Carrie Mae Weems and Frank Stewart. The latter, who works as Jazz at Lincoln Center as its staff photographer, recently <A HREF= http://jazztimes.com/articles/25147-contemporary-frank-stewart-photography-exhibit-to-open-october-17-in-nyc> told JT</a> that he came to New York City as a young man specifically to meet and study with DeCarava, who taught photography for many years at Cooper-Union and Hunter College. Stewart said that DeCarava “taught a whole philosophy about how to approach a subject honestly and tell the truth.” DeCarava’s work has been shown at the Museum of Modern Art and was part of the renowned Family of Life projects. For a complete obit and biography written by Randy Kennedy, visit the <A HREF= http://www.nytimes.com/2009/10/29/arts/29decarava.html?_r=1&ref=obituaries> New York Times web site</a>. true 129 2009-10-29T18:08:25-04:00 false 25249 true 89 2009-10-29T21:00:00-04:00 2009-10-29T21:00:00-04:00

Noted photographer based in Harlem created distinctive images of jazz and African-American culture

51363 2009-10-29T21:28:11-04:00

4 Now in its 39th year (or maybe its 40th, see below), Pittsburgh Jazz Week will take place November 3-7, 2009, at various venues throughout the Pittsburgh area. The festival, which is also known as the Pitt Jazz Seminar and Concert, was founded by noted saxophonist and educator Dr. Nathan Davis of the University of Pittsburgh, where he has been head of the jazz program since 1969, Davis’ association with the University of Pittsburgh marks quite possibly the longest tenure of any jazz educator in this country. The event includes a wide range of concerts, seminars, lectures and workshops on and off Pitt’s campus. Among the performers slated to appear are: George Cables, Terri Lyne Carrington, Leon Lee Dorsey, Benny Golson (who will be honored for his 80th birthday and for his contributions to jazz), Donald Harrison, Jimmy Owens, Yotam Silberstein, Lew Soloff and of course, Davis himself, who spoke with JT about his long and accomplished history with the University. Davis wasn’t planning on a long career in jazz education. Coming out of the Kansas City area, Davis had attended the University of Kansas, but for many years made his living and reputation as a sideman with several legendary musicians, including two of the greatest drummers in jazz history—Kenny Clarke and Art Blakey. Davis was living in Paris during the late ‘60s, working with Clarke at the famous Blue Note nightclub. During a few summers there, he got involved with the Paris-American Academy of Music, which hosted a program dedicated to teaching jazz and jazz appreciation to college students and college teachers. “I was walking by and heard what they were doing. I went in and told them, ‘Let me teach a history course.’ I did that and we did a final concert as a closer. We did that program for 5 years.” Davis had gotten his feet wet in jazz education and, in 1969 he got a call about an opening for a teaching position at University of Pittsburgh. “David Baker had told them about me and they contacted me. I thought, ‘Well, I’ll try it. At that time there weren’t many schools with jazz program. Baker was at Indiana, Donald Byrd was at Howard.” Given how rare formal jazz education was at the time, perhaps it should not be surprising that Davis wasn’t sure if he should come back to the U.S. and take the job. “Some of the guys in the band told me not to do it. Art Taylor, Johnny Griffin. But Klook [Clarke] told me to go. He said, ‘It’s good for jazz. You tell the truth. And when you get your foot in the door and you don’t let it out!” Because the program was in its nascent stages, Davis had to start from scratch. “There was nothing. I thought, ‘What am I going to teach?’ I didn’t know what classes there should be. Then I decided to teach it as a professional. What would a real working musician need to know? Well, he’s going to need the history of jazz. He’s going to need to know how to improvise. And he needs to know how to write music. So that was the curriculum I started with: history, improvisation and composition.” He started in September 1969. So this would be his 39th, wait, no, his 40th year. The two of us ran out of fingers trying to figure it out. Coincidentally, his other mentor was residing in Pittsburgh at that time and was excited for his charge’s opportunity. “During that first semester, I get a call from Bu [Blakey’s nickname], who was playing at the Crawford Grill. He says, ‘Come on down, bring your horn.’ I do down and sit in with the band and he introduces me, ‘This is my tenor player, Nathan Davis. I taught him everything. Now he’s running the university over there!’ I corrected him about that, but he was just so proud.” No surprise then, that Blakey was the first honored guest to perform in the concert series that eventually became the Pitt Jazz Seminar and Concert. “I went down there to the club and asked him to come to the school for a show. He comes to play and we get 1,000 people to come with no advertising or publicity. Just word of mouth. And he talked about jazz and his life. That was it. That was the first show.” In fact, Davis figures that for all intents and purposes, given that he started in 1969, this year is more like the 40th. That love and dedication from his peers continued on through the years. “It was three years later, Dizzy Gillespie calls Klook to find out what I was doing. Klook tells him that I’m at Pitt and teaching jazz there. Dizzy calls me and I tell him I’m doing this annual concert and he says, ‘I got a gig, but I’ll fly in and do a lecture.’ That’s the way it was. Guys did all of this for free for me. They were so glad that one of their own had gotten into the system.” This pioneer in the field of jazz education is proud about how the program and the field of jazz education have grown over the years. “A great change has come about because universities like ours have introduced so many kids to jazz.” Davis is also justifiably proud of the long-term success of the program in fiscal terms. “Do you know that in all these years, we only had 3 shows in the red. Every show makes money. For the last 10 years or so, I figure I raised about $2 million.” Looking at the schedule of events, you’ll notice not just the big all-star concert, but also a series of events in the community – performances at nursing homes, Ronald McDonald Houses and other places not necessarily the obvious choices for shows. “Since the first years, we always did that. See I used to do shows for prisoners or senior citizens. I wanted to bring the music to people who I knew couldn’t afford it and have access to it. It’s just plain good community relations. And that’s good for the university, whose mission is about making a difference in the community. For some jazz musicians, it’s all about them and their gig and their music, but it’s got to be about more than how slick your licks are. I wanted completeness within the community. I’ll have a congressman as MC or the school’s chancellor involved.” This year, The Honorable William R. Robinson, the former Pennsylvania state representative, will serve as the evening’s master of ceremonies. And, at intermission, one of the guest artists will be presented with the University of Pittsburgh Jazz Seminar Committee Award and two other musicians (one living and one deceased) will be inducted into the University of Pittsburgh International Academy of Jazz Hall of Fame. This year’s program will honor Davis’s good friend Benny Golson who is celebrating <A HREF= http://jazztimes.com/articles/24599-benny-golson-old-school> his 80th birthday</a> this year. Golson will receive an award and will perform as well. Davis will never forget that when he went to LA in the early ‘70s, Golson opened his doors for Davis. Laughing about his friend’s sartorial presence, Davis said, “I call him Sir Mister Benny. One time at Ronnie Scott’s, he’s giving these long complicated introductions of the band, and the crowd is going nuts. I told him, ‘Man, you got the British clapping for <I>your</I> English.’” The 72-year-old Davis remains as physically active as ever (“I still practice 3-4 hours every day”), but he recognizes that eventually someone will have to take over for him with the program and the event. “The University is looking to hire two people to replace me. I mean, that makes me feel good, but I feel better to know that they are really committed to keeping the program working at a top level.” One important legacy that Davis is intent on leaving is a Ph.D program for jazz. He developed this program knowing that if jazz people are really going to make inroads at universities across the country, they will need to be accredited at that level. “I remember for the first 10-15 years at the school, the faculty would get together for meetings and I would be excluded because I didn’t have that degree. Eventually, he commuted to the prestigious Wesleyan University to get his doctorate (“Thank God for the GI Bill!”) in 1974. Davis says that the program welcomes its first three students next year. Looking back, Davis has no regrets about leaving the world of the journeyman jazz musician for that of the academician. “No, not at all. When I was young, I saw the great saxophonist John Jackson in Kansas City, and he was living at his mother’s house in the basement, stinking drunk. I saw at an early age how tough the jazz life could be on somebody.” Although the University of Pittsburgh has certainly benefited a great deal from Davis’s involvement for 39 (or 40) years, Davis knows that he’s gained much from the association. “It’s been a good ride for me, yes it has. It’s been a lot of work. But it’s been a joy. A real joy.” true 129 2009-10-28T18:05:45-04:00 false 25248 true 89 2009-10-28T21:00:00-04:00 2009-10-28T21:00:00-04:00

Week-long festival founded by saxophonist and educator Nathan Davis includes concerts, seminars, lectures and demonstrations on and off campus of University of Pittsburgh

51335 2009-10-30T14:15:06-04:00