DOCSLIB.ORG

TWENTY YEARS of – Want the Ultimate MIJF Experience?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TWENTY YEARS of – Want the Ultimate MIJF Experience? TWENTY YEARS OF – Want the ultimate MIJF experience? A MIJF Membership will get you closer Membership costs only $55 (inc GST) per calendar to the action, whether jazz is your newest year, or if you’d like to share the joy with your jazz passion or your life-long love. bestie, a double membership is $100 (+GST). This entitles you to: Our members get access to invitation-only events, priority seating, pre-sales, tickets, swag, special offers and more! ° Invitations to invitation-only events and other events throughout the year As a MIJF Member you are also supporting the future ° Priority entry for MIJF club sessions at of the Festival. As a not-for-profit organisation, we raise The Toff in Town, 170 Russell and The Jazzlab more than 75% of our income from non-government ° Exclusive pre-sale opportunities for special events sources – including initiatives like this one. ° Special offers from our partners, including Cinema Nova, La La Land Wines, Readings, restaurant partners and more ° A free double pass to a Late Night Jam Session (Monday-Thursday only) ° Your very own jazz festival t-shirt (not available for general sale). Questions? Email [email protected] or call 03 9001 1388. Visit melbournejazz.com or call 03 9001 1388 to join today. Disclaimer Acknowledgement of Country This program is accurate at the time Melbourne International Jazz Festival acknowledges of printing. Please check our website melbournejazz.com for latest program the Traditional Owners of the lands on which our and ticketing information Festival takes place, and we pay our respects to their Elders past and present. 2 Welcome Martin Foley MP John Stanhope AM Michael Tortoni Lord Mayor Robert Doyle Minister for Chairman Artistic Director City of Melbourne Creative Industries Welcome to Australia’s The Board and I could This year we celebrate Australia’s largest jazz foremost jazz event, not be more proud to an incredibly important festival celebrates its the 2017 Melbourne welcome you to our 20th milestone in the life of the 20th anniversary with International Jazz Festival. festival. Over the past Melbourne International an outstanding program two decades the MIJF Jazz Festival. featuring artists from 12 Nearly 500 artists from has grown to become countries as well as our a dozen countries, as well Australia’s pre-eminent It has been extraordinary local talent. as local legends and jazz festival, bringing to watch the Festival national jazz treasures, the world’s best jazz grow over the past two The opening weekend are set to perform this year artists – both emerging decades, and to see it of the 2017 Melbourne at venues across Melbourne and established – to develop into a centrepiece International Jazz Festival – from Hamer Hall to cafés Melbourne for all to enjoy. of Melbourne’s cultural includes the free Second west of the city. scene. I’d like to thank all Line Street Party where I would like to thank those who have supported fans can shake off the Now in its 20th year, the the State Government the MIJF over the years, winter blues along the festival takes a broad of Victoria and the City to acknowledge the banks of the Yarra. view of jazz and includes of Melbourne, plus our legacy of the passionate collaborations with leading audiences, sponsors, and talented team There’s something for Victorian arts organisations supporters and donors, behind each and every everyone in Australia’s – from ACMI and physical for helping us reach this program, and to thank our live music capital from theatre company KAGE to anniversary year. I welcome audiences for trusting us performances in intimate the Melbourne Symphony our new funding partners, enough to keep trying new spaces across the city Orchestra. Catalyst – Australian Arts experiences. to iconic venues such as and Culture Fund, and our Hamer Hall. There’s even a program new local council partners Most of all, I thank the of international exchange in Moonee Valley and musicians. They are the The City of Melbourne has with Tokyo and Singapore, Darebin. intravenous feed of what supported the Festival for promoting the creation we do, and are at the many years and is proud of new jazz works and My deepest thanks heart of our reputation to contribute towards the opportunities for performers to our dedicated Board as an international delivery of this renowned and audiences alike. and Festival team, and destination for jazz. celebration of jazz music. our wonderful volunteers, The Victorian Government without whom this Here’s to the next Enjoy jazz fans. is pleased to support the incredible Festival twenty years! festival and proud of the would not be possible. festival’s contribution to our creative state. 3 Celebrating 20 years of extraordinary jazz in Melbourne Allan Browne – a stalwart of many MIJFs For two decades, the Melbourne International Jazz Festival has showcased the world’s best jazz, right here in Melbourne. MIJF is now Volunteers Sonny Rollins Les Newman & Doug Brown Australia’s pre-eminent – 2011 MIJF – 2008 MIJF jazz festival, recognised internationally for the Over the years, MIJF has been honoured to host artists such as Sonny Rollins, creativity and depth of Chick Corea, Herbie Hancock, Joe Chindamo, Sun Ra Arkestra, Cassandra its programming. Wilson, Ron Carter, Charlie Haden, Hiromi, Chucho Valdes, Snarky Puppy, Kurt Elling, Mulatu Astatke, Wayne Shorter, Dee Dee Bridgewater, Maria Schneider, Tord Gustavsen, Richard Bona, Don Burrows, Dr Lonnie Smith, Pharoah Sanders, Katie Noonan, Joe Lovano, Charles Lloyd, Zakir Hussein, Dr Abdullah Ibrahim, Allan Browne, Joshua Redman, Jason Moran, Esperanza Spalding, Robert Glasper, Ahmad Jamal and so many more. We are extremely fortunate to have Melbourne as our home – the city with Australia’s most vital jazz scene. With countless clubs, bars and venues regularly presenting jazz, together we shine a spotlight on this dynamic art form, proving that you don’t need to travel abroad to hear worldclass jazz. The Festival’s long-term commitment to free and community events, and to supporting the next generation of artists and audiences, ensures that jazz remains as accessible and relevant today as it was at its birth in the early 20th century. Like jazz itself, each year’s Festival is a collective achievement, with artists, venues, sponsors, government, the Board, management and volunteers – and, of course, audiences – contributing to its continued success. Thankyou all. Esperanza Spalding – 2016 MIJF HERE’S TO THE NEXT TWENTY YEARS! 4 Special Events Second Line Street Party DATE Join the jubilant energy of the quintessential New Orleans art Saturday 3 June form – the second line parade – as we kick off the Festival’s 20th Dance class with Swing Patrol anniversary celebrations. at Southbank from 11:00am Meet at the river side of The Langham, Melbourne Melbourne’s own Horns of Leroy and Swing Patrol will lead a joyous and Second Line Street Party jumpin’ musical march through Southbank, followed by a free outdoor concert from Southbank to Federation Square, at Federation Square. Whether you’re a musician, dancer or just feel like 12:00pm – 1:00pm funkin’ it up, put on your marching shoes, rain or shine, and join in the fun! Free outdoor concert at Federation Square, from 1:00pm We’ll be holding workshops in May to help you nail the notes and master your moves - sign up to our eNews at melbournejazz.com to get involved. The afternoon continues at Federation Square with funk-laden fun from The Steve McQueens (Singapore) and big band performances featuring Australia’s best and brightest emerging jazz musicians. Proudly supported by FEATURING DIRECTOR Monash University Australian Jazz Ensemble Julien Wilson WAAPA Jazz Ensemble Jamie Oehlers 5 Special USA / Events Australia A Celebration of Ella and Louis DATE featuring Patti Austin, James PERSONNEL Friday 2 and Saturday 3 June at 8:00pm Patti Austin VENUE Morrison and the Melbourne voice Arts Centre Melbourne Symphony Orchestra James Morrison Hamer Hall trumpet Harry Morrison PRICE bass Prices range from $50.00 - $125.00* Both jazz giants in their own right, the landmark collaboration between Ella Fitzgerald and Louis William Morrison * Book early for the best prices; ticket prices guitar subject to change without notice Armstrong was the pinnacle of an era. Patrick Danao drums Few performers have the credentials to pull off a fitting and genuinely thrilling tribute to “The First Lady MELBOURNE SYMPHONY of Song” – Ella Fitzgerald – but Grammy Award-winner ORCHESTRA Patti Austin possesses the heritage, experience and Benjamin Northey conductor voice to do so. Debuting at the Apollo Theatre at the tender age of four, with the encouragement of godparents Dinah Washington and Quincy Jones, Austin’s six-decade career has seen her work with artists as diverse as Randy Brecker, Michael Jackson and George Benson. Celebrating the centennial of Fitzgerald’s birth, Presented in association with Austin teams up with Australia’s own James Morrison to perform timeless hits from the Great American Songbook, unforgettably realised with the lush textures and rich colours of the Melbourne Symphony Orchestra in this Festival-exclusive special event. 7 Modern USA Masters Bill Frisell: When You Wish Upon A Star OPENING ACT Legendary guitarist Bill Frisell returns to Melbourne PERSONNEL Spirograph for the Opening Night of the 2017 Festival. Bill Frisell Studies guitar Australia Hailed as “the most innovative and influential jazz Petra Haden voice guitarist of the past 25 years” (Wall Street Journal), Thomas Morgan DATE Frisell’s 35-year career has seen collaborations with bass Friday 2 June at 7:30pm the likes of Elvis Costello, Bono and the Los Angeles Rudy Royston VENUE Philharmonic. Bold and inventive, Frisell has turned drums Melbourne Recital Centre his hand to avant-garde, noise, folk music and more, PERSONNEL PRICE FULL CONCESSION yet always remaining true to his roots in jazz.
Load more

Recommended publications
  • Complexity Through Interaction
    Complexity Through Interaction An investigation into the spontaneous development of collective musical ideas from simple thematic materials Nicholas Tasman Haywood M.Music Performance, The University of Melbourne (Victorian College of the Arts) Submitted in partial fulfilment of the degree of Doctor of Philosophy University of Tasmania Hobart (June 2014) ii DECLARATION This exegesis contains the results of research carried out at the University of Tasmania, Conservatorium of Music between 2010 and 2013. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Nicholas Tasman Haywood Date ii Table of Contents Acknowledgements ................................................................................................. iv List of Figures ............................................................................................................ v Abstract ................................................................................................................... vi Chapter 1 .................................................................................................................
    [Show full text]
  • BOB SEDERGREEN: the INTERVIEW by Adrian Jackson*
    BOB SEDERGREEN: THE INTERVIEW by Adrian Jackson* _______________________________________________________ [This interview appeared in the December 1981 edition of Jazz Magazine] ver the last decade, I have had the pleasure of hearing pianist Bob Sedergreen play on many occasions: with vibist Alan Lee, with a succession of bands led O by Brian Brown, as the focal point of the Ted Vining Trio, with Onaje, as the wild card in Peter Gaudion’s Blues Express, providing fairly heroic support to visiting stars Jimmy Witherspoon, Phil Woods, Richie Cole and Milt Jackson, even solo. I have always enjoyed and admired his playing for its unflagging swing and qualities of joy, resourcefulness and commitment, and his determination to take chances at all times in search of inspiration, which he seems to find more frequently than most. He has long impressed me as a jazz musician who often plays ‘above himself’ because he has the courage to do just that. Bob Sedergreen: the sum total of his music is pure Sedergreen… In the last few years, he has continued to increase the scope and depth of his playing, and his confidence in it, to the point where he is obviously one of the best musicians in Australia. We have too few others who can so consistently be so exciting, original, inventive, surprising and enjoyable. __________________________________________________________ *In 1981 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 I won’t try to describe his playing. As with any really good jazz artist, his playing is a reflection of his listening and playing experiences, and his own personality.
    [Show full text]
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • July/August Vehicles for Improvisation
    July Sunday, 7th Sunday, 21st Bear & Missile (Adelaide) - Debut Stephen Byth Quartet (Boston/Melbourne) Bear & Missile is an Adelaide-based ensemble comprised of young talents, Returning briefly to Melbourne from his studies in Boston USA, outstanding Presenting original jazz & improvised Bernard Alexander (saxophones), Benjamin Finnis (guitar), Dylan Kuerschner young Monash graduate tenor saxophonist/composer Stephen Byth brings music in Melbourne since 1983 (bass), and Morgan Fletcher (drums). Having collaborated in various groups together his quartet to present a set of new original music that draws in Adelaide for several years, these four artists developed a simpatico musical inspiration from the music of John Coltrane, African/Cuban folk traditions, and personal relationship that resulted in this co-led ensemble. With each and the blues (as well as some swinging tunes from the jazz standard member regularly contributing original compositions, Bear & Missile’s music repertoire). This quartet will feature Kade Brown (piano), Hiroki Hoshino stems from a diverse range of musical influences and genres, from Herbie (bass) and Luke Andresen (drums). Hancock to Henry Threadgill, and Bebop to RnB. The group’s compositions explore elements of the jazz canon that feel particularly relevant to them as Sunday, 28th young people, such as soulful melodies, dancing rhythms, and high-energy Niko Schauble’s “Then This” – Premiere July/August vehicles for improvisation. Drummer/composer/bandleader Niko Schauble’s latest project brings together four exciting musicians, playing a selection of lesser-known Sunday, 14th. standards and new originals by Schauble. Their combined musical Svoboda/O’connor/Green (Brisbane/ Melbourne) backgrounds - together with the bass-less format of the ensemble - will & Laurence Pike (Sydney) – CD Launch create a setting which allows for unique and surprising twists and turns.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Paul Grabowsky
    PAUL GRABOWSKY SELECTED CREDITS DAISY WINTERS (2017) THE MENKOFF METHOD (2015) WORDS AND PICTURES (2013) EMPIRE FALLS (2005) THE JUNGLE BOOK 2(2003) (Original Songs, Lyrics – “Jungle Rhythm”, “W-I-L-D”, “Jungle Rhythm (Mowgli Solo)”) BIOGRAPHY Paul Grabowsky is a pianist, composer, arranger and conductor, and is one of Australia’s most distinguished artists. Born in Papua New Guinea in 1958, Paul was raised in Melbourne where he attended Wesley College. He began classical piano lessons at the age of five, studying with Mack Jost from 1965-1978. He began informal studies in jazz around 1976, and fully devoted his energies to improvised music from 1978. During the 70’s he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived in Munich, Germany from 1980-1985, where he was active on the local and European jazz scenes, performing and recording with Johnny Griffin, Chet Baker, Art Farmer, Benny Bailey, Guenther Klatt, Marty Cook and many others. He returned to Australia in 1986. In 1983, he formed the Paul Grabowsky Trio, winner of four ARIA awards and one of Australia’s longest-living and most influential jazz ensembles. He has also won two Helpmann awards, several Bell awards and a Deadly award. He was the Sydney Myer Performing Artist of the year in 2000, and received the Melbourne Prize for Music in 2007. As a performer, he became known for his work with the ‘Wizards of Oz’, a group he co- led with saxophonist Dale Barlow from 1987-1989 and Vince Jones, for whom he was musical director in 1988-89.
    [Show full text]
  • Jazzvenue #1 Playlist
    Jazzvenue is a weekly two-hour radio show produced in Penticton British Columbia at Peach City Radio (CFUZ-FM). Host Larry Arthur presents jazz new and old from across the globe, focussing occasionally on other idioms that relate to jazz. Jazzvenue has a Facebook page with the episode playlist and pictures of the album covers and/or the original disc label. Episode: #1 Original Air Date: June 13, 2017 TRACKLIST (Artist/Album/Track) *** incomplete track 01 Denys Baptiste Quartet/The Late Trane/After The Rain (7:51)(2017) 02 Kenny Barron Trio/Book Of Intuition/Cook's Bay (6:02)(2016) 03 Larry Willis Trio/MyFunny Valentine/My Shining Hour (6:46)(1988) 04 Poolplayers/Way Below The Surface/Luz (6:38)(2008) CANCON 05 Lars Moller Trio/Divisions/Blues In 5 (7:11)(2013) 06 Francois Houle, Dave Douglas Quartet/The Music Of John Carter/Sticks And Stones (6:43)(1997) CANCON 07 Laurent Coulondre Trio/Schizophrenia/Palma's Waltz (7:15)(2016) 08 Helen Merrill/The Nearness Of You/Just Imagine (3:23)(1957) 09 Hilary Kole, Benny Green/You Are There/Softly, As In A Morning Sunrise (4:12)(2010) CANCON 10 Claudia Acuna, Billy Childs Sextet/Rebirth/Rebirth (7:38)(2015) 11 Christian Sands Trio, Marcus Strickland/Reach/Pointing West (6:07)(2017) 12 Kevin Eubanks Quintet/East West Time Line/Take The Coltrane(6:24)(2017) 13 Lil Green/RCA Records/Why Don't You Do Right (2:53)(1941) 14 Jimmy Rushing, Johnny Otis/Excelsior Records/My Baby's Business (3:05)(1945) 15 Count Basie Sextet/Clef Records/Blue And Sentimental (3:04)(1952) 16 Helen Humes, Buck Clayton/Mercury Records/Jet Propelled Papa (2:45)(1947) 17 Lori Mecham Quartet/April In Paris/Corner Pocket(5:18)(2009) 18 New York Trio/Love You Madly/Jump For Joy (4:46)(2003) 19 Tiziana Ghiglioni/Yet Time/Round Trip (11:30)(1988)*** .
    [Show full text]
  • HOW DALE BARLOW BECAME a JAZZ MESSENGER by Eric Myers ______
    HOW DALE BARLOW BECAME A JAZZ MESSENGER by Eric Myers _________________________________________________________ [This article first appeared in Jazzchord, Sep/Oct 1996.] ost students of Australian jazz can point to their favourite milestones, which had momentous implications for key musicians. In terms of the impact of Australian M jazz in the international arena, one might note the invitation issued by Harry Stein in Melbourne in early 1946 to Graeme Bell, asking him whether he’d like to take his band to Prague for the World Youth Festival. Or the invitation issued in 1954 by the owner of Klein’s jazz club in Detroit to Errol Buddle to take over the resident band (which included the pianist Tommy Flanagan). Or, perhaps more significantly, the subsequent invitation from another Detroit club owner Ed Sarkesian to Errol to provide a band of Australians for the Rouge Lounge (that band became the Australian Jazz Quartet). Errol Buddle (centre) at Klein’s, Detroit in 1953. Pepper Adams (baritone) is to the left. Barry Harris (piano) can just be seen to the right. Obscured behind Buddle is Elvin Jones (drums). Buddle’s invitation to take over the band at Klein’s led to a significant milestone in Australian jazz: the advent of the Australian Jazz Quartet. In this league is the invitation issued in 1989 by the drummer Art Blakey in New York to Dale Barlow to become a fulltime member of the Jazz Messengers. How did this come about? How was it that an Australian saxophonist - a white musician - was able to join a band which, for 35 years, had virtually defined hard-bop, and represented one of the pinnacles of achievement in black American jazz? In 1989 Dale Barlow had returned to New York on a whim.
    [Show full text]
  • 2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
    2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians
    [Show full text]
  • Robert Glasper's In
    ’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]