Derrick Hodge

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Derrick Hodge Derrick Hodge has spent his youthful career transitioning between various styles of Hip-Hop, Gospel, R&B, Funk, Singer/ Songwriter, and Jazz, performing and/or recording with an impressive roster of GRAMMY® nominated and awarded artists including Maxwell, Common, Q-Tip, Mos Def, Jill Scott, Kanye West, Sade, Terence Blanchard, Mulgrew Miller, Clark Terry Robert Glasper, and many more . In 2008, he was commissioned to write a piece by the Chicago Symphony entitled “Infinite Reflections,” and was selected to be a part of the Sundance Institute Composer Lab. Hodge currently performs as a solo artist at venues ranging from festivals to jazz clubs, and maintains a steady career as a film composer and as the Musical Director for Maxwell. In Spring of 2012, Hodge will release his debut recording as a solo artist. The release is a showcase of his widely respected versatility and melodic sensitivity, creating a unique sound all his own. Hodge represents something inventive and refreshing, fronting the wave of a unique generation of renaissance musicians working across all genres without borders. This release is a mosaic composed of what is now and where he comes from, representing the new and respecting the classic. His music creeps into the soul and flirts with the imagination, leaving an unforgettable mark. “Live Today is the way I chose to begin my story as a solo artist. It is a melting pot of sound and emotions, and is how I decided to capture my thoughts at that moment in time. There were many directions that this record could have went, but I chose to give people what was on my mind in a very raw, unedited way. Live Today is about acceptance, being in the moment while paying respect to those that came before me, and about writing music that feels good to me.” –DERRICK HODGE Derrick Hodge Derrick Hodge participating in the 2008 Sundance Institute Composer Lab .

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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.
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