Contact Me By Email

Atlanta, GA Weather from Weather Underground

Jackie McLean

John H. Armwood Jazz History Lecture Nashville's Cheekwood Arts Center 1989

Sunday, October 30, 2005

Ornette Coleman Concert :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Ornette Coleman Concert :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Ornette Coleman Concert
Posted by: paul@abcservices.caon Sunday, October 30, 2005 - 01:22 PM
Jazz Commentary Ornette Coleman - Toronto - Massey Hall
Oct. 29, 2005

Exceptional concert at Massey Hall last night. Ornette at 75 sounds like Ornette at 25. The same energy and intensity with innovations still flowing. Ornette was accompanied by bassist Tony Falanga, bassist Greg Cohen and drummer Denardo Coleman. These incredibly talented sidemen added so much to the concert. For just over 2 hours non-stop we were treated to the shape of Jazz to come by a pioneer in free jazz. Tony Falanga’s, classical take on jazz using a bow and producing sounds that resembled an additional horn section was the perfect accompanist to Ornette, while bassist Cohen played a fast driving rhythm along with Denardo Coleman who maintained the beat at quadruple time.
Ornette also treated us to some trumpet playing as well as a violin solo, shades of Jean Luc Ponty. It was great to see the Toronto crowd give a standing ovation at the beginning of the concert as well as two standing ovations at the finale. I do not know how many concerts Ornette Coleman quartet is performing, but if you get the chance, do not miss this concert, you will be blown away.

Friday, October 28, 2005

Hank Jones joins John Patitucci and Jack DeJohnette for 'S Wonderful on 441 :: : The Number One Jazz News Resource On The Net :: Jazz Ne

Hank Jones joins John Patitucci and Jack DeJohnette for 'S Wonderful on 441 :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Hank Jones joins John Patitucci and Jack DeJohnette for 'S Wonderful on 441
Posted by: eJazzNews Readeron Friday, October 28, 2005 - 05:14 PM
CD Releases 441 RECORDS announces the release of ‘S WONDERFUL by The Great Jazz Trio on October 25, 2005. The Great Jazz Trio is pianist Hank Jones, bassist John Patitucci and drummer Jack DeJohnette. The album is a nine-track suite of jazz standards and songbook repertoire recorded at Avatar Studios in New York City in June 2004. The session was recorded live to 2-track in Direct Stream Digital format to yield the highest quality recording possible. ‘S WONDERFUL is the 28th release by The Great Jazz Trio since the group name was coined in 1975. Already receiving accolades from reviewers across the country, ‘S WONDERFUL guarantees to please with its incredible musicianship and interaction, superior sound quality, and satisfying new twists on old favorites.

The Great Jazz Trio now has a 30-year history of recording fabulous jazz performances and has earned a large following of admirers and fans. The “original” The Great Jazz Trio consisted of Hank Jones, Ron Carter and Tony Williams. Over the years, The Great Jazz Trio featured some of the most unique and interesting combinations of superb musicians with Hank Jones at the center, including Ron Carter, Tony Williams, Buster Williams, Eddie Gomez and Al Foster. The previous trio with Richard Davis and Elvin Jones, Hank’s brother, in their session, dubbed the “Avatar Sessions,” recorded in May 2002, resulted in three albums, Autumn Leaves (441 Records), Someday My Prince Will Come (Columbia) and Collaborations (441 Records). ‘S WONDERFUL is the latest production of The Great Jazz Trio. This time, Hank is joined by John Patitucci on bass and Jack DeJohnette on drums forming another dream team of jazz greats. At 85-years young (at the time of recording), Hank is still going strong and his energy is well matched to these younger, talented musicians.

In the spring of 1975, the “original” The Great Jazz Trio performed together for the very first time at the Village Vanguard for one week. That “dream team” of jazz giants came together at the urging of drummer Tony Williams. The group was billed as “The Great Jazz Trio,” a name that was coined by the late Max Gordon, owner of The Village Vanguard. When Max Gordon called Hank Jones to ask if he would perform with Ron and Tony, Hank got very excited. Hank had just finished a long stint as a studio session musician and the idea of playing with Ron and Tony, who are from different generations, intrigued him.

The trio got together again in May of 1976 to do a studio recording. The three got along so well that they decided to perform together again. The trio was booked at The Village Vanguard for a weeklong engagement in February 1977. The live recordings from the performance established The Great Jazz Trio as one of the premiere trios of jazz and resulted in three albums - At The Village Vanguard, At The Village Vanguard Volume 2 and At The Village Vanguard Again (all available from Test of Time Records).

The concept of The Great Jazz Trio is to surround Hank Jones with excellent musicians and feature all the players equally. If the musicians have not played with Hank Jones before, the mixture may prove even more interesting. This was and has been the goal for the project as pursued by Yasohachi “88” Itoh, the producer of ‘S WONDERFUL and most of The Great Jazz Trio recordings, including the very first one.

Itoh continued, “Shortly after the ‘Avatar Sessions,’ Elvin Jones sadly passed away. Selecting a drummer has always been an important element to The Great Jazz Trio following in the tradition that Tony Williams started. So we selected the most talented drummer playing today, Jack DeJohnette. Surprisingly, Jack had never played with Hank before and was eager to work with him. John Patitucci was a big fan of Hank’s so all the players fell into place. The session went very smoothly and everyone played off each other beautifully.”

The album starts with and features drumming by Jack DeJohnette in an up-tempo “‘S Wonderful.” Very well known songs that are not covered very often such as “Take Five” and “Moanin’” were tackled and given a new twist by the trio. “Sweet Lorraine” and “I Surrender Dear” were personal requests that Itoh made to the trio to record. Itoh always loved these songs as performed by Teddy Wilson and thought that Hank Jones had the velvet touch to bring these songs alive again. The album concludes with a most heartfelt rendition of “Green Sleeves.”

Sometime next year, the trio plans to tour if their schedule permits it. All three are very much in demand. Itoh commented, “It would be fitting for the trio to perform at The Village Vanguard. That is where The Great Jazz Trio started.”

Hank Jones has been very prolific as of late. Recently, he joined tenor saxophonist Joe Lovano on Lovano's release Joyous Encounter from Blue Note. Hank also just released For My Father from Justin Time. Hank is still full of energy at the age of 87. With stimulating partners such as John Patitucci and Jack DeJohnette, Hank will likely keep playing long after he is 100.

About 441 Records

441 RECORDS is an innovative, independent record label featuring top quality jazz recordings. 441 RECORDS is located within Avatar Studios in New York City. For years, Avatar's management was astonished that dozens of great albums by world-renowned jazz artists recorded at Avatar Studios were never made available for sale in the U.S., yet did well in foreign markets. 441 RECORDS was established with a mission to market for the U.S. much of the aforementioned jazz music recorded or mixed at Avatar. The organization follows the classic model of a "boutique label," working very closely with artists from project conception to final product distribution. In April 2005, 441 RECORDS launched a new label imprint, Test of Time Records to reissue over thirty of the East Wind Masterpiece Collection line from Japan, which feature for the first time on Compact Disc some of the best sounding Jazz from the late ‘70s. This line includes the most comprehensive collection of The Great Jazz Trio recordings available today.
14 Reads

Memorial to Jazz Great Illinois Jacquet :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Memorial to Jazz Great Illinois Jacquet :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Memorial to Jazz Great Illinois Jacquet
Posted by: editoron Friday, October 28, 2005 - 01:15 PM
Jazz News Memorial to Jazz Great Illinois Jacquet
Dedication Ceremony and Concert at The Woodlawn Cemetery
Sunday, October 30 at 2 pm

On Sunday, October 30th, at 2 pm, the memorial marking the final resting place of tenor saxophonist Illinois Jacquet will be dedicated at The Woodlawn Cemetery. Dr. Eugene Callendar of St. James Presbyterian Church will lead the ceremony. Phil Schaap, Curator of Jazz at Lincoln Center, will recount his memorable interviews with the jazz great. After the monument is unveiled Victor Goines, Artistic Director of Jazz Studies at the Juilliard School, will lead a ten piece jazz band in a celebration of the music of Illinois Jacquet. The public is invited to attend: admission is free.

Jean Baptiste Illinois Jacquet was born on October 31, 1922 in Broussard, Louisiana and grew up in Houston, Texas where he developed his famous “Texas Tenor” sound. At age nineteen he burst onto the jazz scene when he recorded his explosive “Flying Home” solo with the Lionel Hampton Band, spawning an entirely new style for the tenor sax. His historic solo, “Blues Part II,” with Jazz at the Philharmonic, expanded the upper register of the tenor sax, creating a blueprint for subsequent generations of saxophonists. He played with Cab Calloway, Count Basie, and created a sting of hits with his own record breaking small band. He performed until his death on July 22, 2004.

Leon Rader, a Russian born sculptor who specializes in custom memorial art, was commissioned to create the memorial. His studio, Art in Stone, is in Colma, California. Rader has produced public war memorials, received awards for his unique works of art and recently created the memorial for journalist Daniel Pearl. The nine-foot monument features Rader’s life sized etching of an Arthur Elgort photo of Jacquet playing the saxophone.. The 15,000-pound memorial sits on a piano shaped base, made of polished black granite from India. According to Rader, “The idea was to create a sculpture that told the story of Illinois Jacquet’s love of his music, his appreciation of his fans and his spiritual beliefs. I used stone from India, a country that he loved to visit and designed a work of art to compliment the beauty and history of Woodlawn and the neighboring memorials to Miles Davis, Lionel Hampton and Duke Ellington.”

Following the unveiling ceremony, a ten-piece band will play some of the memorable arrangements Jacquet recorded with his “small band” in the 1940’s. Joining Victor Goines will be Joe Temperley, Michael Dease, Freddy Hendrix, Lee Hogans, Ed Stoute, Fred Hunter and students from the Juilliard School. Illinois Jacquet received an honorary Doctorate of music from Juilliard in May of 2004. Later that year, the Illinois Jacquet Scholarship in Jazz Studies at the Juilliard School was established in his memory.

The Woodlawn Cemetery is located at Webster Avenue and E. 233rd St. and is easily accessible from Metro North, the Major Deegan, Bronx River Parkway and the IRT #4 Subway. For additional information and directions contact the Friends of Woodlawn at (718) 920-1469 or log onto .

Thursday, October 27, 2005

Trane still has steam; discs storm jazz chart

Trane still has steam; discs storm jazz chartOct. 27, 2005

Trane still has steam; discs storm jazz chart

By Chris Morris
In a surprising development, saxophone trailblazer John Coltrane accounted for two of the top three jazz albums last week, 38 years after his death.

The two-CD Impulse! set "One Down, One Up: Live at the Half Note" entered at No. 3 on Billboard's top jazz albums chart for the week of Oct. 29. Sitting at No. 2 was Blue Note's recently released album by the Thelonious Monk Quartet with Coltrane, "At Carnegie Hall."

The Half Note album bowed with sales of 3,500 units (and sold another 2,400 in its second week), while the Carnegie Hall package has moved 44,000 to date. The latter title recently racked up an amazing 11-day run at No. 1 on's album bestseller list.

Both collections were hitherto unreleased officially. The Impulse! package -- a steaming 1965 live set at New York's Half Note club with his classic '60s quartet of McCoy Tyner, Jimmy Garrison and Elvin Jones -- was much bootlegged among Trane aficionados; in the early '90s, Coltrane's son Ravi unearthed a pristine tape made for the musician by DJ Alan Grant. That tape is the source material for the present CD release.

The Monk/Coltrane Carnegie Hall album -- one of the few documents of the brief collaboration between two jazz titans -- had never been heard before. A Voice of America tape of the long-lost 1957 concert was found in the Library of Congress' holdings by researcher Larry Appelbaum.

High-quality unreleased material by Coltrane, who died of liver cancer in July 1967, has trickled out over the years. The lone live recording of his masterpiece "A Love Supreme" finally was issued officially by Impulse! in 2002. In July, Columbia/Legacy released a previously unheard 1956 concert by the Miles Davis quintet with Coltrane as part of a two-CD edition of Miles' Columbia debut "'Round About Midnight."

But the near-simultaneous release of the Half Note and Carnegie Hall sets made for a Coltrane event. "(The music) was not just ghettoized in jazz magazines," says Tom Evered, senior vp/general manager of EMI Jazz & Classics, Blue Note's parent division.

Ken Druker, vp of catalog development at Impulse!, says, "The (press coverage) involved in finding the Carnegie Hall tape drove it a little bit. Other than that, I think it is the legend. The (Coltrane) name seems to have magic to it. ... Aside from the magic of the name, there's the magic of the playing."

However, considering that the fare at the top of the current jazz chart is conservative material -- mainly by vocalists like Michael Buble, Madeleine Peyroux, Paul Anka, Diana Krall and Harry Connick Jr. -- the immediate success of Coltrane's uncompromising music is somewhat unexpected. The Half Note performance, which finds Trane wailing in full-bore, free-blowing fashion, might be especially challenging for some.

But album annotator Ashley Kahn, author of a book on "A Love Supreme" and a forthcoming history of the Impulse! label, "The House That Trane Built," maintains that listeners have caught up with Trane: "It's a very universal, accessible sound, even though he's one of those guys who was very intense, and devoted to experimental, avant-garde sound."

The current spate of interest in Coltrane could go on, for the musician's family has uncovered even more unheard material. Kahn says: "There's a whole bunch of tapes that even the record label didn't know about. There is going to be a lot more stuff."

Wednesday, October 26, 2005

35 Who Made a Difference: Wynton Marsalis

35 Who Made a Difference: Wynton Marsalis35 Who Made a Difference: Wynton Marsalis

In Katrina's aftermath, the trumpeter has rallied support for his native New Orleans

"We're blues people. And blues never lets tragedy have the last word." This is an utterly characteristic statement by Wynton Marsalis, the trumpeter, composer and jazz impresario. He spoke those words in a television interview shortly after Hurricane Katrina devastated his hometown of New Orleans. Within days he was playing in gigs to raise money for Katrina victims, including a huge benefit concert, "Higher Ground," produced by Jazz At Lincoln Center, of which he is the artistic director. It has raised more than $2 million. Bob Dylan once remarked that a hero was "someone who understands the degree of responsibility that comes with his freedom." By that measure, Marsalis is a hero bona fide.

From the time he first came to wide public attention at age 18 with Art Blakey's Jazz Messengers, in 1979, Marsalis has thought deeply about what it means to be a jazz musician. Although his brothers Branford, Delfeayo and Jason are musicians, and his father, Ellis Marsalis, is a prominent jazz pianist, Wynton had to come to jazz on his own terms. "When I was growing up," he once told me, "jazz music was just something that my daddy played that nobody really wanted to listen to. I didn't listen to it because it was 'something old.' A little later, once I started to want to check jazz out, I was really the only one I knew who wanted to play it."

After leaving Blakey's group, Marsalis spent a decade and a half touring with his small ensemble and, later, the Lincoln Center Jazz Orchestra, playing concerts, lecturing, visiting schools. His tours were part old-fashioned traveling lyceum, part portable revival meeting, and he planted the seeds of a new generation of musicians. They've had their careers, and often their lives, cultivated by Marsalis, who called them from the road, urged them to practice, suggested recordings for study and in time offered them gigs.

Marsalis has made some 60 recordings and written five books, and he has won nine Grammy Awards for his classical trumpet recordings as well as his jazz efforts. He was the first jazz composer to win the Pulitzer Prize for Composition, for his oratorio "Blood On The Fields," in 1997. He has attracted more attention from the mainstream arts establishment than any jazz musician since Duke Ellington, and Marsalis has used the vast resources at his disposal to establish the premier jazz educational and performance venue in the world, Jazz At Lincoln Center, in New York City.

Of course, anyone in such a position attracts criticism the way a statue attracts pigeons. Unlike some who see jazz solely as a music for iconoclasts, Marsalis has advocated an approach based on a solid grasp of the music's history and traditions. Reviewers and musicians who disagree with him have sometimes been bruised by his bluntness. Yet the jazz world has gotten more used to Marsalis' large presence. While there are still some people who would carp if Marsalis gave eyesight to the blind, even his critics have conceded the value of the enormous public visibility and credibility he has brought to jazz music.

In his cosmology, Marsalis has always located not just the roots but the heart of jazz in New Orleans. He has been involved with summer programs for young musicians in the Crescent City and has privately helped individual musicians financially and professionally. The devastation brought to New Orleans by Hurricane Katrina clearly has pained him deeply. He's involved in what promises to be extended wrangling over New Orleans' future, participating in planning meetings with political, business and civic leaders, all of whom have different visions of what a reconstructed city might become. Marsalis insists on including in that vision the city's poorest residents, so often the bearers of its musical, culinary and spiritual culture at the deepest level.

"We're not going to just fade away because of a crisis," Marsalis said in a September TV interview. "That's not in our nature." It’s certainly not in his. He has used his talents, and his understanding of the responsibility that goes with them, to become deeper, more human, more valuable.

Sunday, October 23, 2005

NPR : Savoring Shirley Horn's Timeless Sound

NPR : Savoring Shirley Horn's Timeless SoundSavoring Shirley Horn's Timeless Sound

Listen to this story...

by Felix Contreras

All Things Considered, October 22, 2005 · Jazz singer and pianist Shirley Horn's graceful career began in the 1960s, and lasted until her death this week at 71. Her voice and style put her in the ranks of Ella Fitzgerald and Sarah Vaughan

Saturday, October 22, 2005

The Innate Tempo Of Shirley Horn

The Innate Tempo Of Shirley HornThe Innate Tempo Of Shirley Horn

By Richard Harrington
Washington Post Staff Writer
Saturday, October 22, 2005; Page C01

No one mined the depths of a lyric the way Shirley Horn did, with a whispery voice that conjured cashmere and cognac. You could lose yourself -- you couldn't not lose yourself -- as the lifelong Washingtonian's dusky alto crawled unhurriedly through time-tested standards and rediscovered treasures, tapestries of song embroidered with her own crisp chords and subtly spun piano filigrees.

Horn's trademark: exquisitely slow tempo and sensitively savored lyric, effortlessly melded. Heart and soul expressed at a piano bench.

Shirley Horn (with bassist Ed Howard) rehearsing in her Upper Marlboro home last December for a Kennedy Center concert in her honor.
Shirley Horn (with bassist Ed Howard) rehearsing in her Upper Marlboro home last December for a Kennedy Center concert in her honor. (By Dudley M. Brooks -- The Washington Post)
/artsandliving Jazz Legend Shirley Horn
Shirley Horn, a Grammy Award-winning jazz balladeer and pianist, died Thursday Oct. 20 from complications of strokes and diabetes. Horn was a musical fixture in her native Washington before emerging as a national presence in her fifties and becoming one of the country's most revered jazz singers.
Who's Blogging?
Read what bloggers are saying about this article.

* Later On
* Norwegianity
* ____[ BLOG ]___[ @ ]____[ J ]__[ A ]_[ Z ]_[ Z ]___[NOT]___[ J ]__[ A ]_[ Z ]_[ Z ]_________________________________

Full List of Blogs (3 links) »

Horn, who died Thursday night at 71 after a long illness, could swing a tune with the best of them, and often surprised fans when she did, but that approach simply didn't fit her temperament. Instead, Horn did ballads and cool, understated ruminations better than anyone except her first champion, mentor and lifelong friend, trumpeter Miles Davis. Both were masters of silence and anticipation, but even Davis teased Horn about her pacing. "You do 'em awful slow!" he once said.

Indicating the level of respect Davis had for Horn, the legend, then ailing, accompanied her on the title track of the 1990 album "You Won't Forget Me," the first time he'd recorded with a vocalist in four decades, and Davis did so in the long-abandoned lyrical style he'd defined in the '50s, shortly before he first discovered her. The two were talking about collaborating on an all-ballad album when Davis died the following year. Horn won her only Grammy for 1998's "I Remember Miles," dedicated to Davis.

Another sign of respect came from the great pianist Ahmad Jamal, who accompanied Horn on her penultimate album, 2003's "May the Music Never End." Jamal, one of Horn's early inspirations and models, and himself a master of minimalism, had, in his 55 years of recording, never accompanied a vocalist. But for the first time in her career, Horn was unable to accompany herself on record, the result of losing her right foot to complications from diabetes. It was a significant change, denying Horn use of her piano's expression pedal for controlling the instrument's sustain and quiet features that so defined her sound.

The last few years had been rough on Horn, as she dealt with arthritis and underwent chemotherapy for breast cancer. In June Horn suffered a stroke and had been hospitalized since.

Several years earlier, Horn had been forced to abandon the security of her piano bench and rethink her approach after her voice and piano could no longer be intimate extensions of each other. Last December, just before a brief appearance at a Kennedy Center concert honoring her, Horn seemed weary but as quietly determined as ever, insisting: "I've tried to keep things as level as possible through this whole thing. I'm cool. I know what I have to do: I'm never going to give up the piano, I'm never going to stop singing till God says, 'I called your number.' "

Horn was at times reflective, at times wry, and on occasion caustic and cantankerous. She expressed frustration with the music business, particularly that such pianist-singers as Norah Jones and Diana Krall didn't acknowledge her as the influence she clearly heard herself to be. Motoring around her house in a wheelchair dubbed "the Cadillac" (the fancier "Jaguar" was reserved for concerts), Horn would proudly point to assorted honors, including last year's Jazz Master award from the National Endowment for the Arts. But she also seemed frustrated, reduced to performing only a concert or two a month, backed by pianist George Mesterhazy. "I can't get into the music," she said. "I just get lost."

In recent concerts, she managed to find both humor and pathos singing Paul McCartney's "Yesterday," lending multiple meanings to the line "I'm not half the girl I used to be."

So much about Shirley Horn was glacially slow, from her delivery of a song to the acclamation that came late in her career. You can't really make time stand still, but Horn managed an approximation, insisting that ballads were meant to be played slow, the better to understand the power of the story being told and the emotion of the lyric under exploration.

Horn started studying piano and composition at Howard University's School of Music when she was 12, with dreams of a career in classical music. But the realities of racism in the '40s precluded that possibility, and by the late '40s she'd become immersed in the thriving jazz scene around 14th and U streets NW. Debussy and Rachmaninoff gave way to Oscar Peterson, Wynton Kelly, Erroll Garner and Jamal. The girl piano player began to make an impression in local clubs, but even after forming her first trio in 1954, Horn was not one to advance herself.

In fact, that Horn came to sing at all was part accident -- a patron bribed her to sing "Melancholy Baby" -- and part pragmatism: A club owner gave Horn a raise on the condition that she keep singing.

That Miles Davis became a fan via Horn's 1960 debut album, "Embers and Ashes," was part miracle: few copies were manufactured and they were hard to find. Yet Davis managed to and became smitten, playing it so much at home that his kids could sing along to it. A year later, he invited Horn to open for him at the Village Vanguard, though that opportunity almost passed. When he called her and made the offer, Horn didn't believe it was really Davis. She hung up. But Davis sent her a train ticket to New York, and she went.

It could have been a breakthrough moment, but in the end, it was only a moment. Quincy Jones, who was in the opening-night crowd, would produce a pair of Horn albums in the early '60s but miscast her as a stand-up singer, denying her the comfort of accompanying herself in the trio format in which she was so adept. "Nobody knows how to play for me except me," she would complain. "I need to hear my own chords and set my own tempo."

Wider recognition didn't arrive until 1986, when she signed with Verve and began a string of critically acclaimed albums that garnered nine straight Grammy nominations.

Horn never pursued a career with the single-mindedness of such peers as Ella Fitzgerald, Sarah Vaughan, Carmen McRae or Betty Carter -- she simply wasn't as driven or hard-nosed or forceful. But Horn's records drew stellar guests, and she performed around the world as her health allowed. In the end, Shirley Horn's life was much like her song: She got as much music as possible out of every precious note, and in so doing made each note that much more precious.

Last December, looking back on her life, Horn suggested that she never had a choice in the matter: "I think when I was born, it's like God said, 'Music!,' and that was it. All my life, that's all I knew. It's in me, it's jammed up and it's got to come out."

Friday, October 21, 2005

Jazz Veteran Shirley Horn Dies

Jazz Veteran Shirley Horn DiesJazz Veteran Shirley Horn Dies

By Bill Holland, Washington, D.C.

Shirley Horn, the Grammy-winning jazz vocalist and pianist known for her intimate, whispery vocals and top-drawer piano playing, died yesterday (Oct. 20) at Gladys Spellman Nursing Home in Cheverly, Md., following an extended battle with diabetes. She was 71.

Always respected critically, Horn became an unlikely star in her 60s with a series of luminous albums for Verve Records throughout the 1990s. Accompanying herself at the piano, Horn and her trademark vocal style also became a major influence on younger jazz singer/pianists such as Diana Krall and Norah Jones.

Horn was nominated for nine Grammys in the last decade. She won the best jazz vocal performance award in 1998 for her album "I Remember Miles," dedicated to her good friend and mentor Miles Davis.

On several of her Verve albums, she worked with top arranger Johnny Mandel. On others she augmented her trio with guest artists like Davis, Wynton and Bradford Marsalis, Gary Bartz and Toots Thielmanns.

Horn began playing piano at age 10. At 18, she was awarded a music scholarship to Juilliard, but financial difficulties kept her in D.C. After studying music at Howard University, she began her career in the late '50s as a pianist in local restaurants and nightclubs and eased into her role as a vocalist. She was a headliner at Washington's now-defunct One Step Down for more than 20 years.

In 1960, Davis coaxed Horn to open for him at New York's Village Vanguard after being captivated by her debut recording, "Embers and Ashes." That engagement led to a contract with Mercury Records, where she cut albums with Quincy Jones and other top arrangers. She also sang on the 1968 movie soundtracks of "For Love Of Ivy" and "A Dandy in Aspic."

Despite critical acclaim, Horn rarely toured, instead remaining in D.C. to raise her daughter. When Verve signed her in 1987, she was ready to expand her horizons. For her 1996 album "Main Ingredient" she convinced the brass at Verve to record her at her home in the nation's capitol. It was a casual affair.

As jazz royalty like drummer Elvin Jones and tenorman Joe Henderson and others arrived from New York at midday, Horn, brandy snifter in hand, invited them into her kitchen, which was packed with friends and food. As Jones said at the time, "When I wasn't playing, I was busy eating Shirley's beef and beer stew."

Horn previously told Billboard of the session, "I wanted it to be like the old days when folks would get off work at two or three, drop by my place, and play till dawn. Good company, good food, good music."

Horn cut back but did not stop touring in recent years due to her diabetic condition, which eventually resulted in the amputation of a foot. She is survived by her husband, a daughter and two grandsons.

Thursday, October 20, 2005

Herbie Hancock Kicks Off Week-Long Jazz Education Program in Chicago Schools :: : The Number One Jazz News Resource On The Net :: Jazz N

Herbie Hancock Kicks Off Week-Long Jazz Education Program in Chicago Schools :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Herbie Hancock Kicks Off Week-Long Jazz Education Program in Chicago Schools
Posted by: eJazzNews Readeron Thursday, October 20, 2005 - 10:43 AM
October 19, 2005
Contact: Sarah Andrew Wilson
202.364.7272 or 202.680.2420


Washington, DC – The Thelonious Monk Institute of Jazz, a non-profit education organization, will introduce its Jazz in America: The National Jazz Curriculum to thousands of public school students in Chicago during the week of October 24-28, 2005. Jazz in America ( is the Institute’s Internet-based jazz curriculum that is being made available to all 5th, 8th, and 11th grade public school students in the United States. Designed to be taught as a regular part of each school’s American history and social studies classes, this is the first jazz curriculum to use state-of-the-art Internet technology and be offered free of charge on a national basis.

The Institute’s Chairman, ten-time Grammy Award winner Herbie Hancock, will return to his native Chicago to launch the jazz education initiative at Corliss High School on Monday morning, October 24 at 9:15am. On hand for this special program will be Congressman Jesse Jackson, Jr. along with other elected and education officials.

In the Institute’s first visit to Chicago, the tour will consist of a series of jazz assembly programs, jazz band clinics, vocal master classes, and teacher training workshops. Each assembly program will feature a five-piece jazz combo led by internationally renowned saxophonist Bobby Watson, a presentation called “What is Jazz?” by J.B. Dyas, Curriculum Project Director, and a question-and-answer session with students. In addition, jazz drummer Thelonious Monk, Jr., Chairman of the Institute’s Board of Trustees, will make remarks about jazz and its role as America’s greatest musical contribution to the world. The tour is made possible through generous support from the National Endowment for the Arts and United Airlines.

Members of the press are invited to attend any of the following events:

Corliss High School (821 East 103rd Street):
9:15-10:15am - Assembly Program for 1,000 students in auditorium

Dixon Elementary School (8306 South St. Lawrence):
9:30-10:30am - Assembly Program for 800 students in auditorium
10:45-11:45am - Jazz Band Clinic in band room

Curie Metropolitan High School (4959 South Archer Avenue):
1:15-2:00pm - Assembly Program for 800 students in auditorium
2:15-3:15pm - Jazz Band Clinic in auditorium

Lincoln Park High School (2001 North Orchard Street):
11:15am-12:15pm - Jazz Band Clinic in Rehearsal Room 179
1:00-2:00pm - Assembly Program for 700 students in auditorium

Jones College Prep (606 South State Street):
3:00-4:00pm - Jazz Band Clinic in band room

Julian High School (10330 South Elizabeth Street):
8:20-9:20am - Assembly Program for 700 students in auditorium
9:30-10:30am - Jazz Band Clinic in auditorium

Kenwood Academy (5015 South Blackstone Avenue):
12:30-1:30pm - Assembly Program for 700 students in auditorium
1:45-2:45pm - Jazz Band Clinic in band room

Northside Prep (5501 North Kedzie Avenue):
8:15-9:00am - Jazz Band Clinic in band room

About the Curriculum:
The Jazz in America curriculum ( presents an introduction to jazz as it evolved in America and spread throughout the world. It defines the characteristics of jazz, explains how to listen to the music, details the many styles of jazz, and highlights some of the musicians who have advanced the art form. The curriculum also focuses on the development of jazz in America by highlighting the major cities that influenced the music. Further, each lesson plan explores the social, economic, and political contexts within which jazz evolved. In addition to the lesson plans, the curriculum website includes a teacher’s manual, assessments, and a comprehensive Jazz Resource Library.

About the Musicians:
The tour will be headlined by internationally renowned saxophonist and recording artist Bobby Watson (, who rose to prominence as a member of Art Blakey’s Jazz Messengers, and will feature vocalist Lisa Henry, a winner of the Thelonious Monk International Jazz Vocals Competition. The members of the rhythm section are Richard Johnson, piano; Derek Nievergelt, bass; and Otis Brown III, drums. Brown attended the Thelonious Monk Institute Jazz Colony in Aspen, Colorado in the summer of 1999. Johnson and Nievergelt are 1999 graduates of the Thelonious Monk Institute of Jazz Performance at the University of Southern California, a specialized graduate level college program that enables the world’s most gifted young musicians to study tuition-free with the greatest living jazz legends including Herbie Hancock, Wayne Shorter, and Clark Terry.

About the Thelonious Monk Institute of Jazz:
The Thelonious Monk Institute of Jazz ( is a non-profit education organization established in memory of Thelonious Monk, the legendary jazz pianist and composer. Monk believed the best way to learn jazz was from a master of the music. The Institute follows that same philosophy by bringing together the greatest living jazz musicians to teach and inspire young people. The Institute offers the most promising young musicians college level training by America's jazz masters and presents public school-based jazz education programs for people around the world. Helping to fill the tremendous void in arts education left by severe budget cuts in public school funding, the Institute’s education programs are provided free to the public and use jazz as the medium to encourage imaginative thinking, creativity, a positive self-image, and respect for one’s own and others' cultural heritage.

About Herbie Hancock:
Herbie Hancock is a jazz icon who has been an integral part of every jazz movement since his arrival on the scene in the ’60s. Hancock was born in Chicago and began playing piano at the age of seven. When he was 20 years old, Hancock was invited by Donald Byrd to join his band and move to New York. Byrd later helped him secure a recording contract with Blue Note Records. Hancock’s debut album, Takin’ Off, included “Watermelon Man,” which was the first of many top ten hits. As a member of the Miles Davis Quintet, he became one of the pioneers of the avant garde sound. His recordings during the ’70s combined electric jazz with funk and rock sounds in an innovative style that influenced a whole decade of music. Rockit and Future Shock marked Hancock’s foray into electric dance music and included several chart-topping hits. During the same period, he continued to work in an acoustic setting with V.S.O.P., which included ex-Miles Davis bandmates Wayne Shorter, Ron Carter, and Tony Williams. Hancock has received an Academy Award for his Round Midnight film score and 10 Grammy Awards. Many of his compositions, including “Canteloupe Island,” “Maiden Voyage,” and “Chameleon,” are modern standards that have had a profound effect on all styles of modern music. Herbie Hancock continues to be a creative force in jazz and a trailblazer in the world of music. His most recent CD, Possibilities, debuted at #1 on the Billboard jazz chart and #22 on the Billboard Top 100 in September 2005.

Tuesday, October 18, 2005

WYNTON WITH STRINGS :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

WYNTON WITH STRINGS :: : The Number One Jazz News Resource On The Net :: Jazz News Daily WYNTON WITH STRINGS
Posted by: editoron Tuesday, October 18, 2005 - 04:32 PM

• Featuring the Wynton Marsalis Quartet with a String Orchestra Premiering New Arrangements of Music From The Midnight Blues and Hot House Flowers

New York, NY (October 18, 2005) Jazz at Lincoln Center commemorates Artistic Director Wynton Marsalis' 25 years of musical achievement with Wynton with Strings on November 17, 18 and 19 at 8pm at Rose Theater at Frederick P. Rose Hall on Broadway at 60th St. This special series of concert performances feature a retrospect of jazz by the musician, educator and author.

The Wynton Marsalis Quartet will perform a repertoire of Mr. Marsalis' music from the past 25 years, including new arrangements of music from his celebrated albums The Midnight Blues and Hot House Flowers. A string orchestra and Robert Sadin, conductor, will accompany the band for the celebration.

Jazz at Lincoln Center proudly acknowledges Bloomberg as the lead corporate sponsor of this performance and the leadership commissioning support of Agnes Varis, which has made this new artistic collaboration possible.

Tickets for Wynton with Strings are $30, $50, $75, $100, $130 and available at the Jazz at Lincoln Center box office on Broadway at 60th St., by calling CenterCharge at (212) 721-6500 or via

Wynton Marsalis (Music Director, Trumpet) is the Artistic Director of Jazz at Lincoln Center. Born in New Orleans, Louisiana in 1961, Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and since he has recorded more than 30 jazz and classical recordings, which have won him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammys in the same year and repeated this feat in 1984. Mr. Marsalis's rich body of compositions includes Sweet Release, Jazz: Six Syncopated Movements, Jump Start, Citi Movement/Griot New York, At the Octoroon Balls, and In This House, On This Morning and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music, for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. In 1999, he released eight new recordings in his unprecedented "Swinging into the 21stÓ series, and premiered several new compositions, including the ballet Them Twos, for a June 1999 collaboration with the New York City Ballet. That same year he premiered the monumental work All Rise, commissioned and performed by the New York Philharmonic along with the Lincoln Center Jazz Orchestra and the Morgan State University Choir in December 1999. Sony Classical released All Rise on CD October 1, 2002. Recorded on September 14 and 15, 2001 in Los Angeles in those tense days following 9/11, All Rise features the Lincoln Center Jazz Orchestra along with the Los Angeles Philharmonic, the Morgan State University Choir, the Paul Smith Singers and the Northridge Singers. On March 9, 2004, he released The Magic Hour, his first album on Blue Note records. On November 30, he followed up his Blue Note debut with Unforgivable Blackness: The Rise and Fall of Jack Johnson, the companion soundtrack recording to Ken Burns' PBS documentary of the great African-American boxer. His next album, Wynton Marsalis: Live at The House Of Tribes is due to be released on August 30, 2005. Mr. Marsalis is also an internationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and colleges throughout the U.S. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People(SM) concerts produced by Jazz at Lincoln Center. Mr. Marsalis has also been featured in the video series Marsalis on Music and the radio series Making the Music. He has also written three books: Sweet Swing Blues on the Road in collaboration with photographer Frank Stewart, Jazz in the Bittersweet Blues of Life with Carl Vigeland and recently released To a Young Musician: Letters from the Road with Selwyn Seyfu Hinds, published by Random House in 2004. In October 2005, Candlewick Press will release Marsalis's Jazz ABZ, an A to Z collection of 26 poems celebrating jazz greats, illustrated by poster artist Paul Rogers. In 2001, Mr. Marsalis was appointed Messenger of Peace by Mr. Kofi Annan, Secretary-General of the United Nations, and he has also been designated cultural ambassador to the United States of America by the U.S. State Department through their CultureConnect program. He helped lead the effort to construct Jazz at Lincoln Center's new home Ð Frederick P. Rose Hall Ð the first education, performance, and broadcast facility devoted to jazz, which opened in October 2004.

Robert Sadin has distinguished himself in a remarkably wide range of musical idioms as conductor, arranger and record producer. Mr. Sadin has guest-conducted orchestras worldwide including the Chicago Symphony Orchestra, the London Symphony Orchestra, the Los Angeles Philharmonic, the New York City Ballet Orchestra and the Verdi Orchestra of Milan. The New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra and the Boston Symphony Orchestra are among the orchestras that have performed Mr. Sadin's works. He produced and arranged Gershwin's World featuring Herbie Hancock with guest artists Stevie Wonder, Joni Mitchell, Kathleen Battle and the Orpheus Chamber Orchestra. This widely acclaimed album won three Grammy awards. Mr. Sadin produced and conducted Wayne Shorter's Alegria, which won this year's Grammy award for best instrumental jazz album. Wynton with Strings continues Mr. Sadin's long association Wynton Marsalis and Jazz at Lincoln Center. In 1993 Mr. Sadin was invited by Wynton Marsalis and Peter Martins to conduct and record the premiere of the ballet "Jazz" at the New York City Ballet. He also conducted the Marsalis contribution to the Grammy winning album Listen to the Story Teller. Mr. Sadin's activities as a record producer include many innovative and influential recordings including So Many Stars featuring Kathleen Battle with guest artists Grover Washington, Cyrus Chestnut and Christian McBride. This album was considered a landmark in melding classical vocalism with jazz and Brazilian artists. Mr. Sadin also produced Glory to God featuring Busta Rhymes, and the Boys Choir of Harlem on the Grammy winning album Handel's Messiah, a Soulful Celebration and Conquerors, a Grammy-nominated gospel album featuring the legendary Clark Sisters. Mr. Sadin was a member of the Princeton University Music Department for six years and was previously Music Director and Conductor of the University of Cincinnati College Conservatory of Music Orchestra, where he received international acclaim for his conducting of Schoenberg's Moses and Aaron. Mr. Sadin has served as musical consultant to the New York Philharmonic, the Orpheus Chamber Orchestra, Philips Classics, Deutsche Grammophon, and Sony Classical Records among others.

Jazz at Lincoln Center is a not-for-profit arts organization dedicated to jazz. With the world-renowned Lincoln Center Jazz Orchestra, the Afro-Latin Jazz Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, weekly national radio and television programs, recordings, publications, an annual high school jazz band competition and festival, a band director academy, a jazz appreciation curriculum for children, advanced training through the Juilliard Institute for Jazz Studies, music publishing, children's concerts, lectures, adult education courses and student and educator workshops. Under the leadership of Artistic Director Wynton Marsalis, Chairman of the Board Lisa Schiff, President & CEO Derek E. Gordon, Executive Director Katherine E. Brown and Jazz at Lincoln Center board and staff, Jazz at Lincoln Center will produce hundreds of events during its 2005-06 season. In October 2004, Jazz at Lincoln Center opened Frederick P. Rose Hall - the first-ever performance, education, and broadcast facility devoted to jazz. For more information, visit

Saturday, October 15, 2005

Lincoln Center Jazz Orchestra Makes Waves In The U.K. :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Lincoln Center Jazz Orchestra Makes Waves In The U.K. :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Lincoln Center Jazz Orchestra Makes Waves In The U.K.
Posted by: editoron Saturday, October 15, 2005 - 10:28 AM
Jazz News Wynton Marsalis and the Lincoln Center Jazz Orchestra may hang their hats inside the House of Swing at Columbus Circle, but they're also musical ambassadors around the world. NY1's Stephanie Simon tagged along on the orchestra's recent tour of Great Britain, and found out that life on the road isn't easy – no matter how well you play.
“You miss your family and your kids,” Winton Marsalis says of life on the road. “There are long drives everyday; concerts finish at 10:30 and then you sign autographs until maybe 2 or 3 o'clock; you leave maybe at 7, and you do that 5 or 6 days in a row.”

In late September, Marsalis and his 14-member jazz orchestra traveled to Great Britain to perform his original composition “All Rise” with The London Symphony Orchestra. But there was more than just the music to deal with.

“London is so expensive,” says LCJO bassist Carlos Henriquez. “You thought New York was expensive? London is really expensive.”

“I bought breakfast across the street,” says trumpeter Marcus Printup, “and I think it was actually 40 dollars.”

But who has time for breakfast? The hectic schedule takes you from runway to rehearsal before a short break – then it's back to rehearsal.

“It's crucial for us to keep it together,” says drummer Ali Jackson. “Between the conductor and myself, we're the glue that tries to hold it all together.”

Rehearsal lasts for three long days, then the orchestra is off to the first stop on the tour: Birmingham. But only after the bus is delayed on its departure.

“About this time in the trip, we get silly,” says Enriques. “You act the fool the first hour we're on the bus, and then everyone falls asleep.”

The bus arrives a little behind schedule, but things get back on track once everyone is checked into the hotel and the soundcheck begins.

The music is composed by Marsalis, but his handwritten notes are transferred to computer and expanded into a full orchestra score by music copyist Jonathan Kelly.

Friday, October 14, 2005

Signed, Sealed, Delivered . . . and Just 10 Years Later - New York Times

Signed, Sealed, Delivered . . . and Just 10 Years Later - New York TimesOctober 16, 2005
Signed, Sealed, Delivered . . . and Just 10 Years Later

IT'S hardly worth noting that Stevie Wonder is several hours late. Granted, he has a compelling reason - the fires burning outside Los Angeles have come so close to his house that he has had to evacuate. But waiting for Mr. Wonder is one of pop music's grandest traditions. The release this week of "A Time to Love" ends the longest wait yet: it has been a decade since he last put out an album full of new material.

For Mr. Wonder, 55, the music always determines the schedule, not the other way around. "You set a goal in your mind," he said over the phone from his recording studio, "and you say, O.K., this is what these songs need to have, this project needs to have, and you don't really settle for anything less than that."

As he tells it, this time the key was a single phrase. He had been noodling with a piano fragment, until one day the words "a time to love" popped into his head. "When I came up with that title," he said, "I knew what I would use and what I would not. That was maybe three or four years ago."

Most of his vocals were completed last year, he said, leading to the first round of rumblings that the album would finally see light of day. He was still tweaking the music until last month, though: altering mixes, adding a female vocal part, dropping a track from back in the "Songs in the Key of Life" era. Call it perfectionism or procrastination, but ever since the radical act of taking control of his own writing and production in 1972, he has obstinately, often brilliantly, followed his own muse - and his own timetable.

After 10 years away, Mr. Wonder has not lost his unparalleled sense of melody; the album returns him to looser, more elastic rhythms than the mechanized thud that marred much of his music in the 90's. He even got back behind a drum kit. "There were always people going, 'Hey, Stevie, why don't you play drums like you did on 'Innervisions'?" he recalled, "And I'd say, 'Man, that was back then, leave me alone!' But I went back and listened, and I said, 'You know what? They've got a point.' "

In the 42 years since "Fingertips, Part 2," the first No. 1 single from Little Stevie Wonder, Mr. Wonder has had 32 singles top the charts and won a record 19 Grammy Awards. Even in his absence, he has loomed large. Artists from the Red Hot Chili Peppers to Phish cover his songs, and his magnificently yearning, filigreed vocal style echoes through two generations of singers, recently including John Legend, Alicia Keys and Maroon5's Adam Levine.

"He really changed the way that people sing," said Bonnie Raitt, who played slide guitar on "Tell Your Heart I Love You," a track on the new album. She added that R&B can be divided into two eras: "Before Stevie and After Stevie."

But the After Stevie era has been long. It has been a full 20 years since he has had an album or a single in the Top 10 of the pop charts, and the "more organic" sound that he said he sought on his new album is not an obvious fit with post-hip-hop radio. "It's going to be an uphill battle, definitely," said B. J. Stone, director of R&B programming at Sirius Satellite Radio. "There's a lot of anticipation because he's such a genius, but I don't think he really locked up the pulse of music right now."

Nor does it help that "A Time to Love" has been cranked up for release several times before. "There was a temporary lack of confidence that we were going to put it out," Sylvia Rhone, president of Motown Records, said. "But when everybody saw that it was for real this time, they all came in."

Judging from the credits on "A Time to Love," most musicians will still drop whatever they're doing for the chance to work with Stevie Wonder. Prince, India.Arie, the gospel superstar Kirk Franklin and the human beat-box Doug E. Fresh all turn up, and Paul McCartney (with whom Mr. Wonder recorded the duet "Ebony and Ivory" in 1982) added his guitar to the sprawling title song.

Sir Paul may be Mr. Wonder's lone rival as the foremost melody writer of the rock era, but Mr. Wonder said that another Beatle had inspired him this time. "I was listening to the 60's channel on XM," a satellite radio service, "and I heard 'All You Need Is Love,' " he said. "I realized how much I really loved John Lennon, and the hard place that he had in his lyrics. He and Bob Marley were incredible lyricists of reason, of things that made sense and gave people a place and purpose."

Mr. Wonder expressed special pride in the words he wrote for this album. "I think I've grown as a lyricist," he said. "I think, for instance, that 'Passionate Raindrops' " - another track on the album - "is a different kind of lyric; it's very picturesque. I can see everything that I'm writing, I can visualize all those things happening."

Mr. Wonder is, of course, blind, perhaps the most famous blind man alive, but he speaks of visualization unself-consciously, as just one of the many tools at his disposal as a musician. He is more deliberate when talking about humanitarian work, his other great legacy. He is one of the most tangible remaining links to the civil rights era. Now, as the father of seven, including a newborn, he remains committed to numerous causes and charities. He said that he had been talking to Steven P. Jobs, the founder of Apple Computer, about making the iPod more accessible to blind listeners. When the sweeping ballad "Shelter in the Rain" took on new meaning after Hurricane Katrina, he earmarked all proceeds from that track for relief efforts. "He stands above as a cultural figure," Ms. Raitt said, "above partisanship and above reproach."

As for the songs on "A Time to Love," they stand more or less above direct confrontation, which is surprising for the writer of such scathing social commentary as "You Haven't Done Nothing" and "Living for the City." The bulk of the album consists of straight-ahead love songs, and the messages on "So What the Fuss" and "Positivity" focus on empathy and personal responsibility. (A more full-throated protest song titled "Judgment Day" would, he said, likely turn up as a bonus cut on the Japanese release of the album.)

Despite the tone of his songs, his feelings about the state of the world don't seem to have softened. "There's an evil spirit that lurks among us," he said. "It's present in a different way now, a product of those things that we left undealt with, unresolved."

He continued: "But I'm really not angry, I'm saddened, I'm disappointed, but I'm trying to do the best I know how to do. And I'm encouraging everyone else to do their best, give the love you have in your spirit, because I think that people are beginning to see the consequences of what they do or don't do."

Motown went through three presidents during the making of "A Time to Love," and Mr. Wonder is approaching the release of the album as a test. "I have been committed to a record company that was the brainchild of an African-American man from Detroit," he said, referring to the label's founder, Berry Gordy Jr. "And for as long as they handle their business with my stuff, then I'll be there. Now we're going to see how they do."

Ms. Rhone said that the real challenge from her end was getting him to turn in the album. "We've been working on a huge marketing plan that has evolved over a full year," she said. "We're so well prepared, so anxious to execute, that getting to the market is the fun part." She described Mr. Wonder as "the cornerstone of the Motown label."

Indeed, Mr. Wonder is the only Motown star still left from the label's historic 60's roster. Today the company is better known as a repository for nostalgia than as a label that breaks new acts. "For those who own Motown, I'm sure the legacy is in the catalog, and I can understand that," he said. More than four decades after he made his debut, he has clearly given some thought to these issues. "But the untold legacy has got to be in the future," he said, in "what's happening right now, rather than the past."

NPR : Newly Found Beethoven Manuscript to Be Auctioned

NPR : Newly Found Beethoven Manuscript to Be AuctionedNewly Found Beethoven Manuscript to Be Auctioned

All Things Considered, October 13, 2005 · A manuscript in Ludwig van Beethoven's own hand, discovered in a Philadelphia seminary this summer, is expected to fetch $1.7 to $2.6 million at auction next month.

The 80-page draft score for the Grosse Fugue for Piano-Four Hands, considered a milestone in Beethoven's career, is being displayed briefly at the Palmer Theological Seminary, where a librarian came across it in July. Its pages include everything from note revisions to fingering details.

The manuscript reveals a composer who revised constantly, even obsessively. There are smudge marks where Beethoven rubbed out the brown ink before it could dry, and scratches where he erased notes with a needle. The red stains, resembling lipstick, are remnants of sealing wax, used to paste in long corrections.

When the music was first heard in the 1820s, critics balked, blaming Beethoven's deafness for the work's difficult harmonies. Beethoven died in 1827, at age 57. The Grand Fugue, with its difficult passages and intricate phrasing, remained at a great distance from public acceptance until the early 20th century.

The next time the handwritten score will be available for public viewing is mid-November, at Sotheby's auction house in London.

Wednesday, October 12, 2005

NPR : Connick, Marsalis Celebrate New Orleans Roots

NPR : Connick, Marsalis Celebrate New Orleans RootsConnick, Marsalis Celebrate New Orleans Roots

Listen to this story...

by Terry Gross

Branford Marsalis, left, and Harry Connick Jr. have been friends in New Orleans.

Branford Marsalis, left, and Harry Connick Jr. were each born and raised in New Orleans. Frank Hunter/Palma Kolansky

Fresh Air from WHYY, October 12, 2005 · Musicians Harry Connick Jr. and Branford Marsalis, two New Orleans natives, have been friends for years -- back to the days when Connick took piano lessons from Marsalis' father, Ellis.

And when their hometown was devastated by Hurricane Katrina, Marsalis and Connick sought to help any way they could. Marsalis' brother Wynton organized a benefit concert in New York. And Branford's label, Marsalis Music, is releasing a benefit CD, Celebration of New Orleans Music to Benefit the Musicares Hurricane Relief.

Connick returned to the city in early September, navigating its streets by boat and offering help where he could. Some of his experiences there became stories he submitted to NBC's Today show.

As the extent of the disaster became evident, Connick signed on with Habitat for Humanity to serve as honorary chair of "Operation Home Delivery," an effort to rebuild housing for families along the Gulf Coast.

It's an effort that, once again, Branford Marsalis has joined him in supporting, as he is the honorary chair of the New Orleans effort.

Earlier this year, the pair teamed up for Connick's CD Occasion: Connick on Piano, Vol. 2. The album features 13 duets for piano and saxophone, most of them written by Connick, such as "Chanson du Vieux Carre" and "I Like Love More." Marsalis contributed both the title track and "Steve Lacy."

Sunday, October 09, 2005

NPR : Hearing New Music from Monk and Coltrane

NPR : Hearing New Music from Monk and ColtraneD Reviews
By Kevin Whitehead

Cover of Thelonious Monk Quartet with John Coltrane at Carnegie Hall.

Listen to this story...

Hearing New Music from Monk and Coltrane

Fresh Air from WHYY, October 7, 2005 · Jazz critic Kevin Whitehead reviews Thelonious Monk Quartet with John Coltrane at Carnegie Hall. It's a long-forgotten recording of a 1957 benefit concert, which has never been released until now.

Saturday, October 08, 2005

A Last Round With August Wilson - New York Times

A Last Round With August Wilson - New York TimesOctober 9, 2005
A Last Round With August Wilson

IN early May, I spent a Saturday evening in my Manhattan apartment with August Wilson, the celebrated and much beloved playwright who was laid to rest yesterday. We ate dinner and watched a pay-per-view boxing match.

August, a big fan who kept track of the rankings, used to call me from the road to excitedly ask whether I was picking Mike Tyson or Roy Jones on a particular night. When he visited New York, he'd come by my place to unwind from his usual routine of luncheons, dinners and receptions, or just to escape the confines of his Edison Hotel room. Dapperly dressed, he'd always bring along a "beaucoup" bottle of brandy or whiskey and some flowers for my wife. He'd doff his black-brimmed felt hat and make himself at home.

He liked the views of the river from my windows, New Jersey twinkling in the distance, and the Victorian club-like atmosphere of certain of my book-lined rooms. He always looked around to see what books I had been reading, and occasionally, if I'd left some pages of a manuscript lying about, he'd give me a sly look as if to say: "Ah, productivity! A good thing!" He didn't talk that way, but that was what his expression conveyed to me.

He loved discussing literature: Ralph Ellison, Gabriel García Márquez, James M. Cain, Jorge Luis Borges and Tennessee Williams were but a few of the writers we talked about over the years. We tried to maintain a scholarly tone about such things, especially when our wives were around, but when it was just the two of us, our upbringings kicked in and our language was riddled with scatological turns of phrase. August's sentences blossomed with such language, especially when we came to the history of slavery and the black man in this country.

That night in May, as on so many similar nights, we ended up in my study to watch the fight, the sound turned low and some Clifford Brown on the stereo until the main event finally came on. In times past he'd sit in that room with guests ranging from my old, blue-collar neighborhood friends to Lou Reed, who, to August's delight, played a couple of his songs one evening on a nylon string guitar. But whoever had joined us, August always remained somewhat apart from the persona of one who had received so much acclaim.

If he at all considered his creative output the product of genius, he distanced himself from such thoughts, as if the social August Wilson were the caretaker of the creator. He talked books, boxing and jazz; sometimes about his own plays, the hard work of putting them on, the vagaries of tinkering with the script. And often he spoke about his family: especially his little girl, Azula.

"Sign your novel for me, but make it out to Azula," he'd say. "It's for her library."

In retrospect, knowing what I now know about his health at the time, he did seem to have slowed up a bit that May night. He had begun the evening his usual ebullient and opinionated self, but when the main boxing match (admittedly a lame one) came on, August, comfortably seated in an easy chair, a glass of wine before him, dozed off. He had never done that before. I assumed he was simply tired, because he had just come off the final stages of putting "Radio Golf" into production.

I watched him in repose that night. He had a great face, sharply featured, with ever so slightly slanting plains that gave his expressions a soulful and seemingly Asiatic cast. As he softly breathed he had about him the serenity of a man who fully knew the historic worth of his accomplishments. What he dreamed about, I cannot say.

Oscar Hijuelos is the author of "The Mambo Kings Play Songs of Love" and the forthcoming "Twain and Stanley Enter Paradise."

Tribute to Steve Lacy October 6th 8PM at Merkin Concert Hall :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Tribute to Steve Lacy October 6th 8PM at Merkin Concert Hall :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Tribute to Steve Lacy October 6th 8PM at Merkin Concert Hall
Posted by: editoron Thursday, October 06, 2005 - 08:49 AM
Jazz News World Music Institute, Thomas Buckner & Verna Gillis/Soundscape present




Merkin Concert Hall, 129 W.67th Street, NYC $10 or TDF/V; students $7 Box office (212) 501-3330 Info/charges (212) 545-7536

Intepretations, the acclaimed series which features leading names in contemporary music and multi-media, continues on October 6th with an all-star tribute to the late saxophone legend Steve Lacy. The program, devoted to Lacy's extraordinary instrumental compositions and songs, will feature musicians who have performed with him (his wife and muse, Irene Aebi (vocal), Roswell Rudd (trombone), Joe Lovano (soprano saxophone), David Liebman (soprano saxophone), Jean-Jacques Avenel (bass), John Betsch (drums), Bobby Few (piano), Richard Teitelbaum (electronics), and David Wessel (electronics); his student from the New England Conservatory of Music (Jeremy Udden - soprano saxophone); and musicians who deeply admired his music and were inspired by him (Don Byron (clarinet), Gary Lucas (electric guitar), Thomas Buckner (baritone), Judi Silvano (vocal), George Lewis (trombone) and Daniel Tepfer (piano)). The concert will include A Ring of Bone, The Bath, The Holy Land, Prospectus, Esteem, Le Jardin, Bone, Buddha's Path, Inside My Head, and Futurities. The program is part of Daniel Pearl Music Days, an annual event dedicated to the ideals of tolerance, friendship and shared humanity.

Steve Lacy, the great soprano saxophonist and jazz master whose playing encompassed the history of jazz from Dixieland to the avant-garde, once defined his profession as “combination orator, singer, dancer, diplomat, poet, dialectician, mathematician, athlete, entertainer, educator, student, comedian, artist, seducer and general all around good fellow. “He is credited with bringing the soprano saxophone - an instrument that had been neglected during the Bop era - back from obscurity into modern music. He led a variety of groups, performed with many top musicians - including Cecil Taylor, Mal Waldron and Gil Evans - and was a foremost interpreter of Theolonius Monk. He collaborated with dancers (such as Merce Cunningham) and poets (whose words he set to music), and wrote many works for his wife, “his muse,” Irene Aebi. For five decades he made innovative recordings, with more than 50 under his own name. He was named the top soprano saxophonist in Down Beat magazine on many occasions, received the MacArthur Foundation “genius” grant in 1992, and was given France's highest artistic honor (he was made a Commandeur de l'Ordre des Arts et des Lettres by the French government) in 2002. During the last two years of his life he taught at the New England Conservatory of Music. He leaves behind an immense legacy of recordings, compositions and inspiration.

This program is made possible in part with public support from the New York State Council on the Arts, a State agency, and the Mary Flagler Cary Charitable Trust.

-- Verna Gillis/SOUNDSCAPE PO Box 70 Accord, NY 12404


Telephone: 845 626 4038 Fax: 845 626 4641

Dizzy's Club Coca-Cola: November 2005 Lineup :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Dizzy's Club Coca-Cola: November 2005 Lineup :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Dizzy's Club Coca-Cola: November 2005 Lineup
Posted by: editoron Friday, October 07, 2005 - 09:43 AM
Jazz News Jazz at Lincoln Center Announces The November 2005 Lineup For Dizzy's Club Coca-Cola
The Juilliard Jazz Orchestra - The Music of Tommy Dorsey, Bobby Hutcherson featuring Kenny Garrett, Marcus Roberts Trio and Eric Alexander featuring Von Freeman

New York, NY (October 6) - Jazz at Lincoln Center proudly announces the November 2005 lineup of performances at Dizzy's Club Coca-Cola, continuing a Fall/Winter season full of must-see players. Opening the month with a shout is The Juilliard Jazz Orchestra performing the music of Tommy Dorsey, in celebration of what would have been the famous bandleader's 86th birthday, November 19. Dorsey passed away on November 26, 1956. Following the Orchestra will be legendary vibraphonist Bobby Hutcherson, featuring one of the most revered alto saxophonists on the scene today, Kenny Garrett. Holding down the After Hours spot during Hutcherson's week is the incomparable guitarist / composer Roni Ben-Hur. A Dizzy's Club Coca-Cola favorite and regular performer holds down the third week, pianist Marcus Roberts, leading his trio featuring Jas! on Marsalis on drums. From November 22-27, it's “Blowin' In From Chicago” - The Eric Alexander Quintet featuring the legendary Von Freeman.

Dizzy's Club Coca-Cola offers spectacular views and serves a jazz inspired menu seven days a week through the collaboration between Great Performances and Spoonbread culinary creators. Reservations can be made at 212-258-9595 or via the Jazz at Lincoln Center web site at

Dizzy's Club Coca-Cola Schedule November 2005

UPSTARTS! Mondays at Dizzy's Club Coca-Cola
Every Monday night, Dizzy's Club Coca-Cola, 7:30 & 9:30pm
Every Monday, Dizzy's Club Coca-Cola will host a program entitled UPSTARTS! providing performance opportunities for students from area high schools and colleges, including Juilliard Jazz.
$15 cover charge plus $10 minimum at tables/ $5 minimum at bar

November 1 - 6
7:30 & 9:30pm Tuesday - Sunday, 11:30pm show Friday and Saturday
The Music of Tommy Dorsey: Juilliard Jazz Ensemble & Special Guests Conducted by Victor Goines In September 2001, the Juilliard Institute for Jazz Studies opened its doors welcoming 18 advanced jazz musicians into the School's newest program. The Juilliard Jazz Orchestra presents some of brightest stars on the jazz horizon and represents Juilliard's commitment and dedication to jazz, its pioneers, its traditions and its future. This week, The Juiilliard Jazz Orchestra celebrates the music of the great Tommy Dorsey, one of jazz's most famous trombonists and bandleaders. Dorsey would have turned 86 on November 19, 2005.

November 1 - 5
After Hours with Julius Tolentino & Full Circle
Julius Tolentino (saxophones), Avi Rothbard (guitar), Jared Gold (organ), Pete VanNorstrand (drums)

November 7 & 8 ***Sold Out***

November 9 - 13
7:30 & 9:30pm Wednesday-Sunday, 11:30pm show Friday and Saturday
Bobby Hutcherson Quartet - (featuring Kenny Garrett November 9 & 10 only)
Bobby Hutcherson (vibes), Renee Rosnes, Wayne Burno (bass), Willie Jones III (drums) Bobby Hutcherson, one of a handful of vibraphonists to enjoy successful careers both as a jazz instrumentalist and a composer, inherited the musical legacy built by Lionel Hampton and Red Norvo and extended the virtuoso innovations developed by Milt Jackson. Credited, along with Gary Burton, with ushering what was essentially a novelty instrument into the modern era, Hutcherson in turn influenced the few musicians who chose to follow in his footsteps, including the current keeper of the flame, Stefon Harris. A native of L.A., Hutcherson performed locally with Curtis Amy and Charles Lloyd as well as with a quintet co-led by Al Grey and Billy Mitchell which brought him to N.Y. in 1961 when he was 20 years old.

He began performing with a visionary group of artists including Jackie McLean, Grachan Moncur III, Charles Tolliver, Archie Shepp, Eric Dolphy, Hank Mobley and Herbie Hancock. As a result of these associations, in 1963 Hutcherson began appearing as a sideman on several Blue Note albums that would become classics including McLean's One Step Beyond, Moncur's Evolution, Hill's Judgment and Dolphy's Out To Lunch.

It would be easy - based on his work on these recordings and on Dialogue, his 1965 Blue Note debut as a leader featuring Sam Rivers and Freddie Hubbard - to pigeon hole Hutcherson as a member of the avant-garde. Yet he was equally at home playing the blues, as he does with authority on Grant Green's Idle Moments and his own album The Kicker, a soulful, swinging session from 1963 which was actually the vibraphonist's first as a leader, even though it was not released until the fall of 1999. Hutcherson appeared on several other Blue Note titles as a leader and sideman during the course of an association with the label that lasted until 1977. Stick-Up from 1966, which, like The Kicker! features tenor saxophonist Joe Henderson, is also notable for the dynamic playing of the irrepressible drummer Billy Higgins. It is also Hutcherson's first recording with pianist McCoy Tyner with whom he would make the duo album Manhattan Moods in 1993.

November 8 - 12
After Hours with Roni Ben-Hur
Roni Ben-Hur (guitar), John Hicks (piano), Rufus Reid (bass), Leroy Williams (drums), Steve Kroon (percussion)
“ . . .a talented guitarist and composer . . .” - Nate Chinen, The New York Times. “His belief in jazz as a beacon of enlightenment comes beaming through in varicolored moods ranging from his sparkling showpiece, 'Mama Bee,' to his deeply felt prayer for peace for his homeland in a composition called, 'Eretz' (Hebrew for 'land').” - Owen McNally, The Hartford Courant. Critically acclaimed guitarist and composer Roni Ben-Hur will be appearing in support and celebration of his fourth CD as a leader, Signature.

In June of this year, Reservoir Music released Signature, the fourth recording from guitarist, composer, arranger, educator and author, Roni Ben-Hur. Winner of the JAZZIZ 2000 Reader's Poll for “Best New Talent” and a favorite of jazz critics since his emergence on the scene in the 1990s, Ben-Hur reveals on Signature his evolution and accomplishments as a composer, arranger and leader of strength and substance, whose synthesis of styles and cultural influences defy category. Signature is also Ben-Hur's most personal statement on record yet, featuring music that is near and dear to the guitarist's heart. Throughout the recording, Ben-Hur, with John Hicks on piano, Rufus Reid on bass, Leroy Williams on drums and Steve Kroon on percussion, delivers melodically and rhythmically rich versions of originals, and compositions by Jobim, Porter, Hicks, Arlen and Heitor Villa-Lobos. With the release of Signature Roni Ben-Hur offers the world a piece of himself, a glimpse into his life, his mind and his heart, and therefore his most meaningful musical statement to date.

November 14 *** Closed for Jazz at Lincoln Center Fall Gala ***

November 15 - 20
7:30 & 9:30pm Tuesday - Sunday, 11:30pm show Friday and Saturday
Marcus Roberts
Marcus Roberts (piano), Roland Guerin (bass), Jason Marsalis (drums)
The Marcus Roberts Trio was founded in 1993 when Roberts began to study the lineage of great jazz trios, including those of Nat Cole, Oscar Peterson, Errol Garner, and Ahmad Jamal. Roberts first met young drummer Jason Marsalis in the mid-to-late 1980s, during his days in the Wynton Marsalis Septet. Jason was just 10 years old at that time. With the founding of the Marcus Roberts Trio, Roberts had the goal of creating a whole new style of jazz trio playing. After trying a series of drummers and bassists over a two-year period, in 1994 Roberts asked the 17-year-old Jason Marsalis to join his band. In early 1995, Roland Guerin played with Roberts for the first time and from the beginning, he made the trio sound complete. The philosophy and style of Marcus Roberts Trio has steadily evolved from that point.

November 22 - 27
7:30 & 9:30pm Tuesday - Sunday, 11:30pm show Friday and Saturday
“Blowin' In From Chicago” featuring The Eric Alexander Quintet with Special Guest Von Freeman Boasting a warm, finely burnished tone and a robust melodic and harmonic imagination, tenor saxophonist Eric Alexander brings a seasoned veteran's proficiency and poise to his latest recording, Nightlife in Tokyo. As on his four previous Milestone albums as a leader, the 34-year-old colossus-on-the-rise approached this new project with an assured and mature musical vision, gracefully sidestepping the novelties and trends that have come to the fore in so much contemporary jazz marketing.

“I'm not consciously trying to do things differently from record date to record date,” explains the Galesburg, Illinois native. “I'm just really adhering to formula of assembling good musicians that I'm comfortable playing with, getting quality material - a combination of originals and standards and perhaps some new arrangements on standard tunes - and trying to make the kind of recording that a jazz fan or musician can put on and enjoy listening to from start to finish.”

At age 16, Von Freeman played tenor in Horace Henderson's big band for a year. He was drafted into the Navy during WWII, and after his return to Chicago he played with his brothers George on guitar and Bruz (Eldrige) on drums at the Pershing Hotel Ballroom. Various leading jazzmen such as Charlie Parker, Roy Eldridge and Dizzy Gillespie played there with the Freemans as the backing band. In the early '50s, Von played in Sun Ra's band. Von's first venture into the recording studio was for Andrew Hill's second single on the Ping label. He did some recording for Vee Jay with Jimmy Witherspoon and Al Smith in the late '50s and appeared and was recorded at a Charlie Parker tribute concert in 1970. It was not until 1972 that Von first recorded under his own name with the support of Roland Kirk. His next effort was a marathon session in 1975 that was released on two albums by Nessa. Since then his recordings have included three albums with his son, tenor saxophonist Chico Freeman. Von Freeman is considered a founder of the Chicago school of tenor saxophonists along with Gene Ammons, Johnny Griffin and Clifford Jordan.
(Schedule subject to change.)

About Jazz at Lincoln Center's Dizzy's Club Coca-Cola
Dizzy's Club Coca-Cola, one of the three main performance venues located in Jazz at Lincoln Center's new home at Frederick P. Rose Hall, is an intimate 140-seat jazz club, set against a glittering backdrop with spectacular views of Central Park that provides a hip environment for performance, education and other special events. The club also includes fine dinner, dessert and late night menus by New York culinary creators Great Performances and Spoonbread Inc. Jazz at Lincoln Center is a not-for-profit arts organization dedicated to jazz and advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages.

Jazz at Lincoln Center is a not-for-profit arts organization dedicated to jazz. With the world-renowned Lincoln Center Jazz Orchestra, the Afro-Latin Jazz Orchestra, and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, weekly national radio and television programs, recordings, publications, an annual high school jazz band competition and festival, a band director academy, a jazz appreciation curriculum for children, advanced training through the Juilliard Institute for Jazz Studies, music publishing, children's concerts, lectures, adult education courses, film programs, and student and educator workshops. Under the leadership of Artistic Director Wynton Marsalis, Chairman of the Board Lisa Schiff, President & CEO Derek E. Gordon, Executive Director Katherine E. Brown and Jazz at Lincoln Center board and staff, Jazz at Lincoln Center will produce hundreds of events during its 2005-06 season. In October 2004, Jazz at Lincoln Center opened Frederick P. Rose Hall - the first-ever performance, education, and broadcast facility devoted to jazz.

For more information please visit

Singers Over Manhattan - Jazz at Lincoln Center :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Singers Over Manhattan - Jazz at Lincoln Center :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Singers Over Manhattan - Jazz at Lincoln Center
Posted by: eJazzNews Readeron Friday, October 07, 2005 - 03:08 PM
Jazz News Singers Over Manhattan
Romance with a View

· Featuring Carla Cook, Sachal Vasandani & Jennifer Sanon
· Backed by the Eric Reed Trio
· Manhattan skyline views – October 20-22, 2005

New York, NY (October 6, 2005) Jazz at Lincoln Center continues the tradition in its second full season featuring great singers with the breathtaking view in The Allen Room with Singers Over Manhattan at 7:30pm on October 20, 21, 22, 2005. Located in Frederick P. Rose Hall, home to Jazz at Lincoln Center, overlooking Central Park, Columbus Circle and the Manhattan skyline, the best seat in Manhattan is yours. Backed by the Eric Reed Trio, enjoy the incredible vocal performance of singers Carla Cook, Sachal Vasandani and Jennifer Sanon.

Tickets for Singers Over Manhattan are $40, $75 and $130, and available at the Jazz at Lincoln Center Box Office on Broadway at 60th St., by calling CenterCharge at (212) 721-6500 or via

Backed by the fine sounds of the Eric Reed Trio, Singers Over Manhattan presents some of the hottest jazz vocalists on the scene today. From seasoned veteran Carla Cook to red-hot Sachal Vasandani to up-and-comer Jennifer Sanon, expect an evening of romance and virtuosity in The Allen Room. With the exquisite backdrop of The Allen Room, the view is half the fun! Come see and hear what everybody’s talking about, Jazz at Lincoln Center’s home at Frederick P. Rose Hall, Broadway at 60th Street, 5th floor.

Carla Cook says of The Allen Room, “It’s a wonderful place to perform…very classy and classic…and it has such a nice sound.” She continues that she looks forward to collaborating with pianist Eric Reed, “He’s a wonderful pianist, a very tasty player. I’ve admired his work with other singers, that’s why I’m thrilled to be working with him. He’s got a nice ear and touch for working with vocalists.” The Eric Reed Trio consists of Eric Reed (piano), David Wong (bass) and Willie Jones III (drums).

Carla Cook Bio
Carla Cook is daring. She is a jazz singer/songwriter who sings standards beautifully -- but she doesn't stop there. Cook is willing to put a jazz spin on songs not written by traditional jazz composers. Songs that, until you hear her sing them, you'd never imagine could be interpreted as jazz. This native Detroiter, who grew up in a musically rich and diverse environment, brings all her influences to bear within her repertoire. In her songbook you'll find elements of R&B, European classical, Motown, Blues and Gospel. Cook has always eschewed labels, and refuses to become a
jazz purist or snob. That willingness to simply sing what she loves, bringing an earthy sophistication to every song, is what gives Cook her signature style.

In her native Detroit, Cook started singing when she was a young child. Growing up, the Midwesterner sang in the Methodist Church. The secular music that she enjoyed ranged from R&B, rock, country and European classical.Though jazz has always been Cook's primary focus, she has been quoted as saying that her favorite artists range from Miles Davis to Chaka Khan to Johann Sebastian Bach.

Sachal Vasandani Bio
As a singer with this year’s Lincoln Center Jazz Orchestra presentation of Don Quixote, Sachal Vasandani impressed his audience. As New York Times jazz critic Ben Ratliff wrote, “Sachal Vasandani was a total surprise: He looks like the leading man in a Bollywood musical but is a very traditional jazz crooner in the great tradition of Billy Eckstine and Ellington’s Eckstine equivalents, Herb Jeffries and Al Hibbler. He sang swingers and ballads, and he scatted with surprising ease.”

Sachal Vasandani was born in Chicago, with his initial interest in jazz coming from his parent’s jazz records, which ranged from Duke Ellington to Keith Jarrett. Active in jazz band and choir, as well as other ensembles, Vasandani left for college at the University of Michigan. There, in 1998, he was the official representative of the International Association of Schools of Jazz. In 1999, he was voted Collegiate Jazz Vocalist of the Year by Down Beat magazine. In 2004, he was a semi-finalist in the Thelonious Monk Institute Competition.

Jennifer Sanon Bio
Jennifer Sanon was awarded Outstanding Vocalist at Jazz at Lincoln Center’s annual Essentially Ellington High School Jazz Band Festival and Competition in 2003. As a member of the Essentially Ellington All-Star Sextet, Ms. Sanon performed during our "Jammin' With Jazz" 2004 family benefit. In both 2003 and 2004, she was a member of the Gibson/Baldwin Grammy High School Jazz Ensembles, an elite group of 24 student musicians nationwide chosen to perform in a series of concerts leading up to the Grammy Awards. She was also named the 2004 Grammy Foundation Honoree. A Miami native, Ms. Sanon has recently graduated from high school in Florida. Ms. Sanon performed last season with the Lincoln Center Jazz Orchestra on the Chivalrous Misdemeanors concert.

Eric Reed Bio
Eric Reed was born June 21, 1970 in Philadelphia, PA and grew up playing gospel music in his father’s storefront Baptist church, starting at the age of five. “My father was a minister but he also used to sing with a Gospel group in Philly called the Bay State Singers. He was my earliest musical influence. I also was hit heavily by Edwin Hawkin’s music of the 1970s. Gospel music remains a large part of my playing today.” Later, young Reed was bitten by the jazz bug after hearing recordings of Art Blakey, Ramsey Lewis and Dave Brubeck.

At age 18, pianist Reed toured briefly with Wynton Marsalis. A year later, Eric joined Marsalis’ Septet (1990-91; 1992-95). He spent two years with the Lincoln Center Jazz Orchestra (1996-98). Eric continues to perform and record with an assortment of masters.

Jazz at Lincoln Center is a not-for-profit arts organization dedicated to jazz. With the world-renowned Lincoln Center Jazz Orchestra, the Afro-Latin Jazz Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, weekly national radio and television programs, recordings, publications, an annual high school jazz band competition and festival, a band director academy, a jazz appreciation curriculum for children, advanced training through the Juilliard Institute for Jazz Studies, music publishing, children’s concerts, lectures, adult education courses and student and educator workshops. Under the leadership of Artistic Director Wynton Marsalis, Chairman of the Board Lisa Schiff, President & CEO Derek E. Gordon, Executive Director Katherine E. Brown and Jazz at Lincoln Center board and staff, Jazz at Lincoln Center will produce hundreds of events during its 2005-06 season. In October 2004, Jazz at Lincoln Center opened Frederick P. Rose Hall - the first-ever performance, education and broadcast facility devoted to jazz. For more information, visit

Jazz at Lincoln Center proudly acknowledges its 2005-2006 partners: Altria Group, Bank of America, Bloomberg, The Coca-Cola Company, Samsung Electronics America, Inc., Time Warner Inc., XM Satellite Radio,
BET-Black Entertainment Television.


For Immediate Release: October 6, 2005
For More Information, Contact:
Scott H. Thompson, Assistant Director, Public Relations (212) 258-9807 or via email

Listings Information:
Producer: Jazz at Lincoln Center
Event: Singers Over Manhattan featuring the Eric Reed Trio, Carla Cook, Sachal Vasandani and Jennifer Sanon
Dates/Times: Thursday-Saturday, October 20, 21, 22, 2005 at 7:30pm
Location: The Allen Room at Jazz at Lincoln Center’s Frederick P. Rose Hall on Broadway at 60th Street.
Tickets: $40, $75, $130
Available at Jazz at Lincoln Center’s Frederick P. Rose Hall box office on Broadway
at 60th Street (open Monday – Saturday, 10am-8:30pm and Sunday 11am-8:30pm,
CenterCharge at 212-721.6500 or via

Jazz At Lincoln Center Celebrates Thelonious Monk :: : The Number One Jazz News Resource On The Net :: Jazz News Daily

Jazz At Lincoln Center Celebrates Thelonious Monk :: : The Number One Jazz News Resource On The Net :: Jazz News Daily Jazz At Lincoln Center Celebrates Thelonious Monk
Posted by: editoron Friday, October 07, 2005 - 06:56 PM
Jazz News Jazz at Lincoln Center celebrates the great Thelonious Monk's birthday throughout October with a series of concerts and events dedicated to the legendary jazz pianist's style and genius. Beginning Tuesday, October 25th, in the Irene Diamond Education Center at 7:00pm, Jazz at Lincoln Center launches the first Jazz Talk of the 2005-06 season with Rhythm-a-ning: Thelonious Monk. Monk said: ÒA genius is one who is most like himself, and by this standard, Monk's brilliance was unmatched. Professor and Monk biographer Robin D.G. Kelley will lead the audience on a tour of the house that Monk built.
On October 28th and 29th, at 8:00pm in Rose Theater, Jazz in Motion: Tappin' into Monk, features tap virtuoso Savion Glover as he splinters the floor to the syncopated sounds of Thelonious Monk, who when seized by the spirit of his musical inventions broke into a circle dance all his own. In Jazz for Young PeopleSM: Jazz In Motion: Tappin' Into Monk, school-age children will have the opportunity to experience the music of Thelonious Monk in this dance and jazz collaboration featuring Savion Glover in Rose Theater on October 29th at 12pm & 2pm. The power of Monk's music and Mr. Glover's phenomenal tap dancing will get the whole family out of their seats!

Thelonious Monk (1917-1982) Fingers splayed, elbows poised to collide with the keyboard, he neither played nor sounded like anyone else and the public recognized his eccentricities, his ever-changing headgear, dizzying mid-performance dances and long, baffling silences Ð long before it accepted his music.

Raised in Manhattan and inspired by the New York masters of stride piano, Monk became the house pianist at Minton's Playhouse where the young creators of bebop played together after-hours in 1940. From the first, the greatest musicians loved compositions like “Round Midnight” and “Epistrophy” with their unusual chords and voicings and sudden starts and stops, but it was not until 1957 and the release of his record, “Brilliant Corners” that the jazz world fully came to see that he was, as John Coltrane said, “a musical architect of the highest order, “ and one of the most important composers in the history of the music.

Thursday, October 06, 2005

NPR : Unearthing Unknown Monk, Coltrane Recording

NPR : Unearthing Unknown Monk, Coltrane RecordingUnearthing Unknown Monk, Coltrane Recording

All Things Considered, October 5, 2005 · One day in late January, Larry Appelbaum was thumbing through some old Voice of America audiotapes about to be digitized at the Library of Congress when he made a discovery that would stun him and many other jazz fans.

Eight 10-inch reels of acetate tape were labeled "Carnegie Hall Jazz 1957." One of the tape boxes had a handwritten note on the back that said "T. Monk" with some song titles.

Appelbaum, a jazz specialist at the Library of Congress, got excited at the prospect of finding unpublished materials by the jazz master Thelonious Monk. Then he heard another distinctive sound. "I recognized the tenor saxophone of John Coltrane and my heart started to race," Appelbaum says.

The Nov. 29, 1957, concert was recorded by the Voice of America but never broadcast. For years, the recordings were lost and forgotten. Now, thanks to Appelbaum's discovery, Blue Note Records is releasing them.

Tuesday, October 04, 2005

manchester music folk & Jazz Wynton Wings On

Email to a Friend Your comments
Tuesday, 13th September 2005

Marsalis will be in the city on Oct 4JAZZ legend Wynton Marsalis makes a welcome return to the city on October 4 when he plays a date at the Bridgewater Hall.
The trumpeter, who was last here in July 2004 with New York’s Lincoln Center Jazz Orchestra, has won eight Grammys awards and was the first jazz musician to win the Pulitzer Prize in music.
The New Orleans star recently released a new record, Live At The House Of Tribes and will once again play with the orchestra, conducted by Kurt Masur.
P.incontentad { display: none }

Wynton Marsalis plays the Bridgewater Hall on Tuesday, October 4. Tickets are priced £20 - £40. Call 0161 907 9000.