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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. -
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. -
STEFON HARRIS & BLACKOUT ( ~L,
A Secrest Artists Series Event STEFON HARRIS & BLACKOUT ( ~l, / Thursday September 9, 2004 7:30 pm Brendle Recital Hall Wake Forest University \\'i11:;/011-S11le111,Nort/, Caroli11a Stefon Harris & Blackout J time Grnmmy nomrnee vibraphonist Stefon Harris mtrmluccs his new band Bl,1ckout,on h1, CDEvolut11m(Blue Note records). Featuring an exciting blend of modern acousliL wund, writlen h, I l,1rris as wellas a monng rend1t1on of <;ting's'l/111/', the group has been hailed for "pursumg contemporary jau on llS own terms" (1/,c ~\'t1Slungtu11Pc>st). 1 hl' b.111d include~ Mar.: Ctr) on keyboard~. Derrick I lodge on h,1,s, Terrcon (,ully on drums and C.1seyBc111am111 on alto ~ax.The band has performed at the north sca jazz fc,tl\al, The Kenned, Center (Washmgton D( ), lhe F.gg (Alhany, NY) .1nd will embark upon a national tour Lo co111c1dewith its CD release Marc Cary ll.1ise<lin Washington, D.C., Marc ( ary has become known as one of the most ongmal Jilli p1,1msts111 '\'ew York A man of edccllc taste,, Carv has a strong post-hop foundation but has also explored Afro-Cuban rlwthms. eleclrOmLgroove mu~1c,and other dtrections with Im various ensembles. Upon arriv111g111 New York. Cary was t,1kenunder the wmg of Mickey !fa,, and Be,IVerHarm. Hts first h1g ttme gigs Lame m thL earl} '90, 1,ith Arthur Tarlor, Betty Carta, and Roy I l.1rgro\·e.In 199.J,he be..:ame Abbey Lm,olth p1a111,tand arranger. Carr's own records h,1veshown great promise. -
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 -
2020 Artist Sponsorship Program
2020 Artist Sponsorship Program Join the Monterey Jazz Festival family by sponsoring a Monterey Jazz Festival Artist. As a sponsor, you can make a personal connection with an MJF musician, while ensuring the professional and artistic growth of all MJF artists and tomorrow’s rising stars. Your contribution goes to support the Monterey Jazz Festival’s comprehensive, pre-eminent year-round jazz education and mentorship opportunities. Artist Sponsorships range between $10,000 to $20,000. SPONSORSHIP LEVELS Jazz Legend - $20,000 – SPONSORED 2020 Jazz Legend Artist and Advocate – Pat Metheny and Darlene Chan During the annual Jazz Legends Gala, the Monterey Jazz Festival honors one or two amazing performers with the Jazz Legends Award. Prior Jazz Legends include Dave Holland, Kenny Barron, Dianne Reeves, Herbie Hancock, Quincy Jones, Chick Corea, Charles Lloyd, Wayne Shorter, Jack DeJohnette, Terence Blanchard, George Wein, Gerald Wilson, and Dave Brubeck. Monterey Jazz Festival will present the 2020 Jazz Legends Award to Pat Metheny and Darlene Chan during this year’s Gala. Pat Metheny first burst onto the international jazz scene in 1974. Metheny’s trademark playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility—a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, “Bright Size Life” in 1975, he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to redefine the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument. -
The Jazz Gene: Examining the Use of Jazz Aesthetics in Hip-Hop Music P
The Jazz Gene: Examining the use of Jazz Aesthetics in Hip-Hop Music P. Thomas Francis A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE 2017 P. Thomas Francis, 2017 ii ABSTRACT This thesis is made up of 7 original compositions that aid in exploring the common cultural traits and practices of African-American music — referred to using the metaphor of the Jazz ‘Gene’. These conventions are historically contextualized and analyzed through two categories of rhythm and harmony from a post-Jazz perspective. The compositions in this thesis also highlight influences and artists from various African-American genres whose active compositional styles create unique frameworks in their genres — such as James Brown, Joshua Redman, Roy Hargrove, Robert Glasper, and Dr. Dre. I surmise that without these common traits and practices found through these unique frameworks, Hip-Hop music would not persevere or evolve. These aesthetics exist in Hip-Hop just as much as they exist in Funk, Soul, R&B, Gospel, and Jazz music. iii DEDICATION This paper is dedicated to my family. Mom, Dad, Shelkah, and Sherma, thank you for your continued support and I hope this paper does you all proud. Catherine, you are reason the house is a home, the little volcanoes, and the dream that came to life to which my life becomes a dream. Thank you for ALWAYS being available and constantly reading, re-reading, and staring at these pages until I couldn’t take it anymore! You’re brilliant and wonderful. -
Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions
Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis Abstract: The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to Downloaded from http://direct.mit.edu/daed/article-pdf/148/2/23/1831401/daed_a_01740.pdf by guest on 02 October 2021 reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theo- ry as well as on Amiri Baraka’s analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that jazz matters not only in itself, but also in its continuing ca- pacity to engage in cross-genre dialogues for musicians and audiences who hear it as part of a rich con- tinuum of African American musical expression. We are, it seems, in an age of Afrofuturism. The release of the Black Panther feature film in Febru- ary 2018 was greeted with a spate of think pieces across a range of media, explaining the term Afro- futurism for an unfamiliar audience. “T’Challa, also known as the Black Panther, the title character of the blockbuster movie, wasn’t the first person to land a spaceship (or something like it) in down- town Oakland, Calif.,” starts one such article.1 Such pieces point back to bandleaders Sun Ra and George Clinton (and sometimes to Jamaican dub artist Lee “Scratch” Perry) to provide background for the film’s mix of the old and the new, technolo- gy and the spirit, space-age Africa, and, eventually, a sense of diasporic culture that travels in both di- rections across the Black Atlantic–in ships in the gabriel solis is Professor of sky rather than the sea–suturing the fissures rent Musicology at the University of by the middle passage, by war, and by colonial mo- Illinois at Urbana-Champaign. -
Friday Friday
Monterey Jazz Festival Program subject to change September 27-29, 2019 North Coast Brewing Co. Blue Note at Sea Yamaha Time Jimmy Lyons Stage Garden Stage Pacific Jazz Café Dizzy's Den Night Club Jazz Theater Jazz Education Stage Tent Courtyard Stage 4:00pm Exhibit: Jazz California Jazz Eddie & Kanoa Impressions by Conservatory (CJC) Mendenhall 4:15pm r.r.jones Blue Ensemble 4-4:30pm 4:30pm Iconic Images from 4-4:45pm Allison Au 4:45pm Kuumbwa Jazz Quartet BREAK (30 min) BREAK (60 min) Center 5:00pm 4:30-5:30pm 5:15pm ALL DAY NGJO Combo Eddie & Kanoa 5:30pm BREAK (30 min) 5:15-6pm 5:45pm Film: Mendenhall MJF 101 6:00pm Piano Conversation Miles Davis: Birth 5:30-6pm 5:30-6:30pm w/Kenny Barron, 6:15pm SambaDá BREAK (30 min) of the Cool Gerald Clayton 6-7pm 5-7:30pm BREAK (60 min) 6:30pm CJC & James Francies 6:45pm BREAK (30 min) Faculty Ensemble Hosted by Don Was 7:00pm 6:30-7:15pm 6-6:45pm BREAK (30 min) NGJO Combo 7:15pm Friday Connie Han Trio 7-7:30pm 7:30pm Allison Miller & Derrick DJ 7-8pm BREAK (30 min) 7:45pm Hodge Present Soul on Brother Mister Gerald Clayton Quartet Chris Potter Next Generation 8:00pm Soul: A Tribute to Mary 7-8:30pm Circuits Trio 7:30-8:30pm Women in Jazz Combo BREAK (60 min) Lou Williams BREAK (30 min) Featuring 7:45-8:30pm 7:30-8:20pm Friday 8:15pm James Francies & Eric Harland 8:30pm END BREAK (30 min) BREAK (30 min) BREAK (30 min) 7:30-9pm NGJO Combo 8:45pm Remembering Bria Skonberg 8:30-9pm 9:00pm 8:30-9:30pm Mary Lou Williams Kenny Barron-Dave w/Allison Miller, Jimmy Lyons Stage Berklee Global Jazz END 9:15pm Holland Trio with BREAK (30 min) Shamie Royston, Simulcast 9:30pm Ambassadors Nasheet Waits Carmen Staaf 7:30-11:30pm 9-10pm 8:50-9:40pm Taylor McFerrin BREAK (30 min) & Jean Baylor 9:45pm 9-10:30pm 9-10pm 10:00pm END Christian McBride END BREAK (30 min) Situation 10:15pm Donna Grantis with Patrice Rushen 10:30pm 10-11pm 9:30-11pm 10:45pm Diana Krall END 11:00pm 10:10-11:10pm END 11:15pm END 11:30pm END END Monterey Jazz Festival Program subject to change September 27-29, 2019 North Coast Brewing Co. -
Blanchard 46 ‘We Are All Humans’ by AARON COHEN Trumpeter Terence Blanchard’S New Release Is a Concert Disc That Chronicles His Dynamic Band, the E-Collective
JULY 2018 VOLUME 85 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins 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 Sales 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, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Npr's Tiny Desk Concert Series: Vocalities of Outrage and Acts of Gaiety
University of New Mexico UNM Digital Repository Music ETDs Electronic Theses and Dissertations Fall 11-15-2019 NPR'S TINY DESK CONCERT SERIES: VOCALITIES OF OUTRAGE AND ACTS OF GAIETY Aubrie M. Powell University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/mus_etds Part of the Music Commons Recommended Citation Powell, Aubrie M.. "NPR'S TINY DESK CONCERT SERIES: VOCALITIES OF OUTRAGE AND ACTS OF GAIETY." (2019). https://digitalrepository.unm.edu/mus_etds/30 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Music ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Candidate Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: , Chairperson NPR’S TINY DESK CONCERT SERIES: VOCALITIES OF OUTRAGE AND ACTS OF GAIETY by AUBRIE POWELL B.M., Music Composition, Baldwin Wallace Conservatory of Music, 2015 M.M., Music Composition, University of Missouri-Kansas City Conservatory of Music and Dance, 2017 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Music The University of New Mexico Albuquerque, New Mexico December, 2019 ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Ana R. Alonso-Minutti, for her supervision of my research and invaluable assistance in the writing of this thesis. Her guidance and wisdom helped the thesis take shape through discussions of a variety of relevant topics. -
Presents Hammer Theatre Center, in Association with San Jose Jazz
***For Immediate Release*** Media Contact: Jesse P. Cutler JP Cutler Media (o) 510.658.3236 (e) [email protected] Presents Hammer Theatre Center, in Association with San Jose Jazz, Bring the Best Names in Jazz to Downtown San Jose For Intimate Cabaret Concert Experience in Autumn 2019 & Winter 2020 Featuring: Kendrick Scott – October 20, 2019 Quiana Lynell – November 8, 2019 Matt Wilson – February 21, 2020 Melissa Aldana Trio – March 20, 2020 San Jose, Calif. – Monday, September 23, 2019 – Downtown San Jose will bustle with the sounds of modern jazz in a brand new intimate concert series Black Cab Jazz, to be presented from autumn 2019 through winter 2020. The series is named after presenter Hammer Theatre Center’s intimate black box theatre space, where the concerts will be held in the spirit of classic intimate cabaret shows. Audiences will see today’s hottest jazz artists with 4-top seating amongst a maximum capacity of 120 audience members. Curated by Internationally renowned arts organization San Jose Jazz in partnership with the Hammer Theatre Center, this riveting set of up-close performances will feature Blue Note Records drummer Kendrick Scott (Oct. 20), sizzling vocalist Quiana Lynell (Nov. 8), one of New York’s finest drummers Matt Wilson and his “Honey & Salt” Quintet (Feb. 21), and award-winning saxophonist Melissa Aldana Trio (Mar. 20). “The Hammer is excited and indebted to San Jose Jazz and its curators for helping us to introduce this new vibe in downtown San Jose, where you can see and hear emerging Jazz artists in the intimate, cabaret style, of Hammer 4 black box theatre,” says Chris Burrill, Executive Director of the Hammer Theatre Center. -
Monterey Jazz Festival 50Th Anniversary Tour Comes to San Luis Obispo
Cal Poly Hosts Monterey Jazz Fest Performance at the PAC http://www.calpolynews.calpoly.edu/news_releases/2007/December/j... Skip to Content Search Cal Poly News News C a l i f o rn i a P o l y t e c h n i c S t a t e U n i v e rs i t y FOR IMMEDIATE RELEASE Dec. 26, 2007 TICKET SALES: 805/756-2787 FOR IMMEDIATE RELEASE Monterey Jazz Festival 50th Anniversary Tour Comes To San Luis Obispo SAN LUIS OBISPO – The Monterey Jazz Festival's 50th Anniversary Band will perform at the Christopher Cohan Center on Wednesday, January 16, 2008 at 8 p.m. Cal Poly Arts presents the acclaimed MJF 50th Anniversary Band, led by pianist and Musical Director BENNY GREEN, trumpeter TERENCE BLANCHARD, saxophonist JAMES MOODY, bassist DERRICK HODGE and drummer KENDRICK SCOTT. Vocalist NNENNA FREELON will also be a featured member of the group. All of the members are influential and popular artists in the world of jazz and are leaders of their own bands. “The showcase promises a wide array of jazz styles, with something for everyone live on stage,” reports Peter Wilt, Cal Poly Arts Interim Director. The band’s tour was conceived by the Monterey Jazz Festival General Manager Tim Jackson in celebration of the Festival’s 50th Anniversary in 2007-2008. The band performed at MJF/50 on September 23, 2007 to enormous success. The tour represents “the past, present and future of jazz,” according to Jackson. “We wanted to take this special group on the road to show the country what MJF is about – they represent the spirit and educational enthusiasm of the Festival and they span many years of jazz history.” The Monterey Jazz Festival 50th Anniversary Tour will appear at major performing arts organizations in many regions of the county, through March 2008.