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How Democratic Is Jazz?
Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D. -
(You Gotta) Fight for Your Right (To Party!) 3 AM ± Matchbox Twenty. 99 Red Ballons ± Nena
(You Gotta) Fight For Your Right (To Party!) 3 AM ± Matchbox Twenty. 99 Red Ballons ± Nena. Against All Odds ± Phil Collins. Alive and kicking- Simple minds. Almost ± Bowling for soup. Alright ± Supergrass. Always ± Bon Jovi. Ampersand ± Amanda palmer. Angel ± Aerosmith Angel ± Shaggy Asleep ± The Smiths. Bell of Belfast City ± Kristy MacColl. Bitch ± Meredith Brooks. Blue Suede Shoes ± Elvis Presely. Bohemian Rhapsody ± Queen. Born In The USA ± Bruce Springstein. Born to Run ± Bruce Springsteen. Boys Will Be Boys ± The Ordinary Boys. Breath Me ± Sia Brown Eyed Girl ± Van Morrison. Brown Eyes ± Lady Gaga. Chasing Cars ± snow patrol. Chasing pavements ± Adele. Choices ± The Hoosiers. Come on Eileen ± Dexy¶s midnight runners. Crazy ± Aerosmith Crazy ± Gnarles Barkley. Creep ± Radiohead. Cupid ± Sam Cooke. Don¶t Stand So Close to Me ± The Police. Don¶t Speak ± No Doubt. Dr Jones ± Aqua. Dragula ± Rob Zombie. Dreaming of You ± The Coral. Dreams ± The Cranberries. Ever Fallen In Love? ± Buzzcocks Everybody Hurts ± R.E.M. Everybody¶s Fool ± Evanescence. Everywhere I go ± Hollywood undead. Evolution ± Korn. FACK ± Eminem. Faith ± George Micheal. Feathers ± Coheed And Cambria. Firefly ± Breaking Benjamin. Fix Up, Look Sharp ± Dizzie Rascal. Flux ± Bloc Party. Fuck Forever ± Babyshambles. Get on Up ± James Brown. Girl Anachronism ± The Dresden Dolls. Girl You¶ll Be a Woman Soon ± Urge Overkill Go Your Own Way ± Fleetwood Mac. Golden Skans ± Klaxons. Grounds For Divorce ± Elbow. Happy ending ± MIKA. Heartbeats ± Jose Gonzalez. Heartbreak Hotel ± Elvis Presely. Hollywood ± Marina and the diamonds. I don¶t love you ± My Chemical Romance. I Fought The Law ± The Clash. I Got Love ± The King Blues. I miss you ± Blink 182. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, Howard Mandel 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: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
30-Minute Big Band Performance + 15-Minute Clinic • Jazz Combos
37TH ANNUAL UNC WILMINGTON DEPARTMENT OF MUSIC UNCW JAZZFEST Friday, March 29, 2019 · 10 a.m. - 9 p.m. OPEN TO MIDDLE AND HIGH SCHOOL JAZZ COMBOS AND BIG BANDS Terri Lyne Carrington DRUMS GUEST ARTIST / CLINICIAN Three-time Grammy Award-winning drummer, producer and educator, Terri Lyne Carrington has worked with artists such as Herbie Han- cock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Woody Shaw, Cassandra Wil- son, Dianne Reeves, John Scofield, Esperanza Spalding, Yellowjackets and countless others. Carrington is also the first female artist to win a Grammy for Best Jazz Instrumental Album. Carrington has released eight albums; most recently The Mosaic Project: Love and Soul, which features a leading cast of superb female instrumentalists and vocalists including Natalie Cole, Chaka Khan, Nancy Wilson, Ledisi, Lalah Hathaway, Lizz Wright, Ingrid Jensen, Meshell Ndegoecello, Linda Oh, Patrice Rushen, Regina Carter and others. JAZZFEST OVERVIEW Activities take place on the UNCW campus: Cultural Arts Building or Kenan Auditorium Awards for top soloists in each category Scholarship opportunities to attend REGISTRATION DEADLINE: FOR MORE INFORMATION UNCW Summer Jazz Workshop POSTMARKED BY MARCH 7, 2019 Dr. Natalie Boeyink UNCW JAZZ STUDIES COORDINATOR Big bands $125 Post-performance clinic with [email protected] UNCW jazz faculty and Terri Lyne Carrington 30 minute big band performance 15 minute clinic 910.962.7440 Master class with Terri Lyne Carrington Performance by UNCW Big Band, Combos $50 20 minute combo performance conducted by Natalie Boeyink 15 minute clinic Guest artist performance by Registration includes concert tickets for participants. Terri Lyne Carrington with UNCW Jazz Faculty Online registration will be available shortly. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
Prominent Jazz Celebrations Are a Beautiful Thing by Jon W
United States Source: Columbia Daily Tribune Retrieved from https://www.columbiatribune.com/story/entertainment/2021/04/17/prominent-jazz- celebrations-beautiful-thinG/7244183002/ on 21 June, 2021 Prominent jazz celebrations are a beautiful thing By Jon W. Poses [Editor’s note: This is the second of a two-part series on Jazz Appreciation Month. Part One ran April 4.] Writing in this space January 24, I suggested Doug Emhoff, “The Second Gentleman,” surely must be a jazz fan. After all, he and his first wife, Kerstin Emhoff, named their son Cole after John Coltrane and their daughter Ella after Ella Fitzgerald. I proposed that, all things being equal, there might be a good chance jazz would return to the White House, having a presence during the Obama Administration before completely disappearing during the following one. Lo and behold, less than three months later, it seems such a development has come to fruition. Emhoff will “provide opening remarks” as part of the upcoming NEA Jazz Masters Tribute Concert, according to a National Endowment for the Arts press release. The concert takes place Thursday, April 22 at 7 p.m. Missouri time in San Francisco, and will air virtually on multiple websites including the NEA’s own arts.gov, where it will also be archived for future viewing. For those of us who appreciate when jazz enjoys enhanced visibility, having Emhoff involved — even if it will likely be briefly — with the prestigious annual NEA Jazz Masters presentation should be taken as a positive. His participation bodes well for the White House, on some level, to be involved in future jazz-related activities. -
SFJAZZ Announces 2019-2020 Season Programming September 5, 2019 – May 31, 2020
FOR IMMEDIATE RELEASE SFJAZZ Announces 2019-2020 Season Programming September 5, 2019 – May 31, 2020 Tickets on Sale to SFJAZZ Members, Friday, June 28 at 11:00amPST Tickets on Sale to Public, Thursday, July 12 at 11:00amPST SFJAZZ.ORG (SAN FRANCISCO, CA, June 6, 2019) -- SFJAZZ announces artist programming for the 2019-20 season running September 5, 2019 to May 31, 2020 presenting concerts at the SFJAZZ Center’s Robert N. Miner Auditorium and Joe Henderson Lab, Herbst Theatre, Grace Cathedral, and Paramount Theatre in Oakland. Tickets on sale to SFJAZZ Members, Friday, June 28 at 11:00amPST and on sale to public on Thursday, July 12 at 11:00amPST. For more information, visit sfjazz.org. “This is our 8th Season in the Center: we opened in January of 2013. And it is SFJAZZ’s 37th year: we debuted in 1983 as Jazz in the City,” says SFJAZZ Founder and Artistic Director Randall Kline. “At the time of our founding, neither I, nor anyone who was a part of it, could have imagined that here at the corner of Franklin Street and Fell Street, in one of the world’s greatest cities, a dedicated community center built expressly for the appreciation and development of jazz would be thriving. The key elements of this vitality are the intersection of our dedicated audiences, our superb artists, and the Center itself—we work together to create this community.” The SFJAZZ Resident Artistic Director program was established to give today’s most innovative and influential artists the chance to curate exclusive programming at the SFJAZZ Center often featuring unprecedented collaborations and world premiere projects between world-renowned artists. -
Lizz Wright TOTAL DEVOTION the ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS in GOSPEL MUSIC, HER LOVE of JAZZ and HER TRANSCENDENT NEW ALBUM
Lizz Wright TOTAL DEVOTION THE ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS IN GOSPEL MUSIC, HER LOVE OF JAZZ AND HER TRANSCENDENT NEW ALBUM BY ALLEN MORRISON • PHOTOS BY JIMMY & DENA KATZ Lizz Wright at The Jazz Gallery in New York City, Oct. 8 singer,’” Wright explained. “I’ve always got n late February 2015, about a week before that Southern gospel-blues root thing on singer-songwriter Lizz Wright went into the it—I can’t get that off! It’s like a good kind of dirt, you know? Not a nasty dirt—a good studio to record her fifth album,Freedom kind in which you can grow stuff. I “I think, musically and personally, I & Surrender (Concord), her Volvo station stand right in the middle of America,” she reflected. “I know there are pieces of coun- wagon skidded across 300 yards of black ice on a try, folk, jazz, gospel, soul music and blues mountain curve near her North Carolina home, in what I do, but these styles don’t feel sepa- rate to me. They look like the collage of peo- and headed toward a 75-foot ravine. ple in my life who have taught me, loved, protected and influenced me.” On the Wright described this harrowing, “near- songs that demonstrate a new maturity and a downside, she added, “If you’re this eclec- death experience” in a recently published essay: hard-won sense of balance between the secular tic, you can be made to feel a bit homeless.” I softened my body and rested my hands in and the sacred. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
Chicago Jazz Festival Spotlights Hometown
NOVEMBER 2017 VOLUME 84 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins Editorial Intern Izzy Yellen 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 Associate Kevin R. Maher 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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, -
Dominican Republic Jazz Festival @ 20
NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Jazz 100: the Music of Dizzy, Ella, Mongo and Monk Danilo Pérez, Chris Potter, Avishai Cohen, Wycliffe Gordon, Lizz Wright
JAZZ 100: THE MUSIC OF DIZZY, ELLA, MONGO AND MONK DANILO PÉREZ, CHRIS POTTER, AVISHAI COHEN, WYCLIFFE GORDON, LIZZ WRIGHT NEWS RELEASE For immediate release: Friday, March 3, 2017 Contact: Sarah Knab, 608.258.4438 / [email protected] Interview opportunities available – advance phoners and in-town on March 16. Contact Sarah for details. Celebrating 100 Years: Dizzy Gillespie, Ella Fitzgerald, Mongo Santamaria, Thelonious Monk Featuring an all-star lineup led by Musical Director, former Gillespie pianist Danilo Pérez Madison, Wis. – Overture Center is proud to welcome Jazz 100, the centennial celebration for four visionary icons of music all born in 1917: Dizzy Gillespie, Ella Fitzgerald, Mongo Santamaria and Thelonious Monk. The performance in Overture Hall on Thursday, March 16, 2017, at 7:30 p.m., showcases both the dynamic individual artistry of each icon and the powerful unifying threads between them which helped shape and inform not only the evolution of jazz but modern music as we now recognize it. Musical Director and former Gillespie pianist Danilo Pérez has carefully assembled a world-class ensemble of virtuosos, bandleaders and composers including Chris Potter (saxophone, woodwinds), Avishai Cohen (trumpet), Wycliffe Gordon (trombone, vocals), Lizz Wright (vocals), Roman Diaz (percussion, vocals), Ben Street (bass) and Adam Cruz (drums) to reflect and pay homage to some of history’s most important and timeless musical voices. Tickets start at $30 and are available in person at the Overture Center Ticket Office (201 State Street), online at overture.org or by phone at 608.258.4141. Jazz 100 is presented by Overture Center as part of the Bell Laboratories Music Series.