Tom Talbert, 80, noted jazz musician, composer and arrangerTom Talbert, 80, noted jazz musician, composer and arranger
Los Angeles Times
Jul. 9, 2005 12:00 AM
LOS ANGELES - Tom Talbert, a jazz composer and arranger whose music mixed influences as diverse as Duke Ellington and Debussy, has died. He was 80.
Talbert died Saturday at Cedars-Sinai Medical Center in Los Angeles after a severe stroke, his family said.
Self-taught as a pianist, Talbert became interested in arranging at age 15 after hearing big bands on the radio. During World War II, he joined the Army and became an arranger for a military band at Fort Ord that performed for war-bond drives throughout California.
After the war, the native of Crystal Bay, Minn., came to Los Angeles and led his own orchestra from 1946-49 and toured with singer Anita O'Day. In 1950, Talbert moved to New York and arranged music for many jazz greats, including big band leaders Buddy Rich, Stan Kenton and Claude Thornhill.
Two albums Talbert released in the mid-1950s, Bix Duke Fats, a modern jazz treatment of compositions by Bix Beiderbecke, Ellington and Fats Waller, and Wednesday's Child with singer Patty McGovern were critically well-received, if not easy to describe.
"Unique stylistic combination of French Impressionism, Abstraction and 'blowing,' " the Billboard review of Bix said.
When asked about his distinctive style, Talbert told the Los Angeles Times in 1994, "I probably learned the most from listening to records. So I ended up writing what I heard in my head, and what I liked. I never tried to make it sound like Ravel's Daphnis and Chloe. It's just what I hear."
In 1975, he returned to Los Angeles and wrote the soundtracks for such television shows as NBC's Serpico and Emergency. He led a septet and another big band, revived his recording career and performed through the 1990s.
He also established a scholarship for young musicians studying at California State University-Long Beach.
Saturday, July 09, 2005
Friday, July 08, 2005
John Stubblefield Insights
John Stubblefield Insights
Tim - Let's talk about the legacy of the tenor via jazz...your ideas.
John - There's a lot of cats carrying on the legacy of this music, whether they know it or not. I just came back from San Francisco with McCoy Tyner's big band, and I got a chance to meet Prince Lasha! He was on my case every night; He came by the club every night. He gave me a tape he did in 1987 with Woody Shaw, and showed me photos of him when he knew and played with Coltrane. He played with Sonny Rollins; this cat is a walking history book. The next day he came by the hotel, and took me over to the house of woodwinds. Prince plays alto sax, flute and baritone sax. Prince is amazing.
Tim - Reflect on Jr. Cook's playing with McCoy when you both were in the sax section together.
John - Jr. Cook is someone who McCoy still talks about, and the fact that he still misses him. We all talk about Jr. Cook a lot. I used to listen to him a lot when I was in high school. When he was with Horace Silver. Jr. Cook was one of the first to play a style out of Sonny Rollins, and the first to assimilate it was Joe Henderson. Jr. came up on the grasp of Rollins style very honestly, and he developed his own voice of that Rollins style. Over the years, I found what a great musician Jr. Cook was. He never practiced the sax, he played the piano a lot (kinda like Lonnie Hillar did). He took his ideas on piano and took them to the tenor. He had a rhythmic concept that was fantastic! I really liked that feel.
I'd notice when we played together, he'd play 16 bars on one foot, and he'd switch legs and pat that foot on the bridge of the tune. So there was something about how he distributed his body like that. I watched that in Jr. Cook a lot. He did that all the time too.
Tim - That's the sub-consciousness of his thoughts, it's heavy.
John - I never heard Jr. Cook fluff that much cause he was such a good pianist.
Tim - You do a variety of styles, gigs and concepts. You do McCoy Tyner's band, also Kenny Barrons quintet, plus funk dates and pop music. What players have left their mark on you, and why?
John - I can tell you my favorite saxophone players, then I can tell you my favorite saxophone players who were arrangers. Some were soloists, some were arrangers. I first heard Lester Young in 1957, I heard him before I heard Coleman Hawkins, though I knew of Hawkins.
Lester Young always moved me cause he was more melodic in his playing. When I heard Coleman Hawkins, I found he played appoggiatura's better than anyone I knew or heard. Coleman Hawkins was a vertical player and Lester was a horizontal player, and when I studied the Lydian concept, I found I could respond more to what Lester was doing! I see them as both great. You got to give Coleman Hawkins all the credit in the world for making the tenor a solo instrument. Hawkin's sound was really something new too. I talked to people who had played with him, and they always told me, Hawk was always working at his reeds and mouthpiece to get a better sound, and get a big cutting sound. If you look into the whole picture of the saxophone, all of the saxes from the armies in the civil war went to New Orleans. The way that instrument became popular there, was because all clarinetists played sax. But, if you listen to Albert Nicholas, or Benny Bailey, the way they played the was was coming from a clarinet concept. The Brown Brothers and all of that was a novelty at first, but Coleman Hawkins grabbed that, and played the novelty thing too, cause he was a great slap-tongue artist. He could kill that style.
Tim - When you slap tongue - Hawk used that as a device but as a harmonic thing, via the rhythm.
John - It's funny that you mentioned that, cause I learned that when I started saxophone, and lost if over the years and was trying to learn it back from Howard Johnson, Howard does it very well. Howard talks about how Tom Scott was asking him about it too.
The guy Hawkins really dug was a player with Jelly Roll Morton and the Hot Peppers called Stomp Evans. Coleman said if Stomp would have come to N.Y. he would have been the cat. I got a chance to talk to Prince Robinson, he was in the same era, and coleman Hawkins loved him too. Prince played a lot with the McKinely Cotton Pickers, plus road work in band. I got to speak to him in 1973. He was really a force on the saxophone historically. Rudy Weidoff had a lot of influence on those cats cause he was the most recorded saxophone player in that time, before 1923 and all that. That slap-tongue thing was Stomp Evans with Jelly Roll Morton. They used it just like you said Tim, Stomp and Hawk used that slap-tongue as a harmonic and rhythmic device. Prince Robinson was bad too, cause he had the ability to run changes in a very modern way.
Tim - The saxophone has and always will be something that people enjoy, via the mass audience, it's just a matter of how it's presented along with some help from the press and media.
John - People will always enjoy it! Look, I just went to see Dewey Redman, and not only did he play his butt off, but he sand, "Mr. Sandman" I thought about it, see I used to watch the hit parade on T.V. in the early 50's. I didn't realize it then as I do now, people as they progressed became specialized in the music that they played. In those years everybody played the same thing. See, if you played "Body and Soul" it was played for the serious listener, it was played for dancing, it was played for everything. Today, it's a bit different. You got a funk player who only plays funk. You got a big band player who only does that. Years ago, a player did everything, and everything was what it was! Meaning that if you played a popular song, a sixteen year old DUG that as well as a 60 year old. So the hit parade show was one of the same. It was no this or that, JUST music all could enjoy. Recently, I was talking to Eddie Harris in California, and he and I were talking about this record he was asked to be on by Gerald Albright, and you know, Gerald had some hits out, he can play. He had Eddie Harris and Kirk Whalum as his guests on his record, and they were playing tunes, and that's great cause some people only knew Kirk and Gerald as pop cats. They can really blow! Here now people are playing all of the music. King Curtis could play all of the music!
Tim - If you listen to the record King Curtis did with Jimmy Forrest and Oliver Nelson, King Curtis will knock you out. Forget it!
John - That's right, forget it! He could play all of the music, and he was a student of Garvin Bushells. Have you heard Garvin Bushell with Jabbo Smith, it's a killer. Garvin Bushell was very together as you know Tim.
Tim - You don't have to tell me that John, Garvin used to help me on oboe and bassoon. HE made me some unreal oboe reeds, he was so together, and a beautiful teacher and player.
John - I got all my info. about Garvin Bushell from drummer Sam Wooding, when I was in Sams band. He told me everything I wanted to know. He and Charlie Gaines. Garvin was playing clarinet on this FAts Waller record with Garvin and Jabbo Smith, and Fats was playing the organ, and James P. Johnson is on piano (It's on R.C.A. Records). Garvin Bushell played clarinet better than anyone! If he wouldn't have left for Russia, and if he would have gotten pushed on clarinet it would have been all over. He would have been a big star.
Tim - Garvin was a total musician! He played with Coltrane, Fats Waller, Ella's big band, plus symphonic gigs. He did what a musician was to do in those days.
John - When I first came to New York from Chicago and the A.A.C.M. I was trying to play the music and instruments well, you know and be responsible.
Tim - You've known Pharoah Sanders for a long time.
John - No doubt about it, I've known Pharoah for about 37 years now. I meat Pharoah Sanders when he was a first clarinet player! And when he left little rock and moved to Oakland, I'd be in touch with Pharoah. All he'd talk about would be the way John Coltraine would go and listen to John gilmore night after night with Sun Ra. Coltrane was very much into the Sun Ra band then, around the mid 60's.
Tim - That's when they had Gilmore, but also giants like Pat Patrick and Charles Davis. John Gilmore also played beautiful bass clarinet on some Sun Ra C.D.'s that just came out on evidence.
John - He was a virtuoso clarinet player - when Gilmore came out of the air force he played first clarinet in the Earl "Fatha" Hines band. Sun RA met him when he was in the Hines band. He's a great clarinetist! Everybody in chicago knew that.
Tim - You know Gilmore had that one-ness from the plam keys on the tenor up thru the high harmonics like A Ribbon, it was seamless. IF you listen to him you'll hear that, a very complete player with his own style...
John - It's nice you're giving that man the credit, cause John Gilmore is by far one of the finest saxophone players on this planet. When people could summon his talent, they did. As Art Blakey did. I never forget hearing Gilmore play in memphis with Blakey, and I still can hear this cadenza John Gilmore played then; I can hear it yet today. It was on "Autumn In New York". I'll never forget it as long as I live. Gilmore played a great solo and master-piece cadenza. It was UNBELIEVABLE!
Tim - You know, out of that Chicago school as is Eddie Harris. That dude is so bad - he plays piano, and all of his books are vital for the saxophone. He's like a Marcel Mule of jazz. If I ever won the lottery, I'd rent a club and hire Eddie Harris and Andrew White and just sit back and watch their genius at work. Eddie got a lot of Chicago in him.
John - The chicago school is something. Yes, Eddie Harris is someone who not a lot of cats would want to mess with cause he's a genius. We've all known that for years. Charles Davis and I are compiling a list of Chicago saxists ....heard of, and unheard of. See, Chicago was a Lester Young town, that's what it was. When I hear Kirk Whalum play, I feel whether he knows it or not, he's carrying on a tradition of Evelyn Young in memphis. She's a memphis lady, and that's a school unto itself. I come out of her, Hank Crawford comes out of her. She's the one who was around the Texas musicians who came to Memphis with Jelly Roll Morton. America don't know how much they owe Evelyn Young. The schools that the saxophone comes thru are vital yet today. Chicago, Detroit, Philly, and Texas. See, today Coleman Hawkins and Lester Young are still very vital today, and always will be.
Tim - What are some things you practice?
John - Well, one of the things I practice that John Gilmore turned me onto, is I practice out of drum books. The Louis Bellson ones. I practice rhythms, and study rhythm. I also practice long tones a lot. It helps you express yourself. If you can control your sound you have a more powerful weapon. I practice a bunch of different keys, standard tunes, plus I practice my own music, that's a dimension too. I like to work on styles of the horn.
Tim - Where are some records where people can get into your playing a lot. Any favorites?
John - The Kenny Barron record "What If". (on ENJA records) - It shows the whole thing I'm coming from with the Lydian concept of playing bi-tonal sounds that are not moving in II V areas. That recorded tells a lot of my studies. The Sonny Phillips record on Muse I like a lot. Also the Delmark recrods with Joseph Jarman and Maurice McIntyre in the 60', I was playing that music with a passion in those times. I just did one with Craig Harris, also I did a Billy Hart record on Arabesque records. There are a lot of style on there, plus I was really into my altissimo register on Billy's record. That's a special area. You know Eddie Harrris has that down, but have you heard this guy Marc Russo? Marc can really go up there! He used to play with the "yellowjackets". plus I heard him at my friends house, David Eye, David is Smokey Robinson's sax player, and is also from Little Rock. David played me some stuff of Marc's that really was impressive. I've done close to 70 records with different people, but as of now those are some of my favorites.
Tim - Let's talk about the legacy of the tenor via jazz...your ideas.
John - There's a lot of cats carrying on the legacy of this music, whether they know it or not. I just came back from San Francisco with McCoy Tyner's big band, and I got a chance to meet Prince Lasha! He was on my case every night; He came by the club every night. He gave me a tape he did in 1987 with Woody Shaw, and showed me photos of him when he knew and played with Coltrane. He played with Sonny Rollins; this cat is a walking history book. The next day he came by the hotel, and took me over to the house of woodwinds. Prince plays alto sax, flute and baritone sax. Prince is amazing.
Tim - Reflect on Jr. Cook's playing with McCoy when you both were in the sax section together.
John - Jr. Cook is someone who McCoy still talks about, and the fact that he still misses him. We all talk about Jr. Cook a lot. I used to listen to him a lot when I was in high school. When he was with Horace Silver. Jr. Cook was one of the first to play a style out of Sonny Rollins, and the first to assimilate it was Joe Henderson. Jr. came up on the grasp of Rollins style very honestly, and he developed his own voice of that Rollins style. Over the years, I found what a great musician Jr. Cook was. He never practiced the sax, he played the piano a lot (kinda like Lonnie Hillar did). He took his ideas on piano and took them to the tenor. He had a rhythmic concept that was fantastic! I really liked that feel.
I'd notice when we played together, he'd play 16 bars on one foot, and he'd switch legs and pat that foot on the bridge of the tune. So there was something about how he distributed his body like that. I watched that in Jr. Cook a lot. He did that all the time too.
Tim - That's the sub-consciousness of his thoughts, it's heavy.
John - I never heard Jr. Cook fluff that much cause he was such a good pianist.
Tim - You do a variety of styles, gigs and concepts. You do McCoy Tyner's band, also Kenny Barrons quintet, plus funk dates and pop music. What players have left their mark on you, and why?
John - I can tell you my favorite saxophone players, then I can tell you my favorite saxophone players who were arrangers. Some were soloists, some were arrangers. I first heard Lester Young in 1957, I heard him before I heard Coleman Hawkins, though I knew of Hawkins.
Lester Young always moved me cause he was more melodic in his playing. When I heard Coleman Hawkins, I found he played appoggiatura's better than anyone I knew or heard. Coleman Hawkins was a vertical player and Lester was a horizontal player, and when I studied the Lydian concept, I found I could respond more to what Lester was doing! I see them as both great. You got to give Coleman Hawkins all the credit in the world for making the tenor a solo instrument. Hawkin's sound was really something new too. I talked to people who had played with him, and they always told me, Hawk was always working at his reeds and mouthpiece to get a better sound, and get a big cutting sound. If you look into the whole picture of the saxophone, all of the saxes from the armies in the civil war went to New Orleans. The way that instrument became popular there, was because all clarinetists played sax. But, if you listen to Albert Nicholas, or Benny Bailey, the way they played the was was coming from a clarinet concept. The Brown Brothers and all of that was a novelty at first, but Coleman Hawkins grabbed that, and played the novelty thing too, cause he was a great slap-tongue artist. He could kill that style.
Tim - When you slap tongue - Hawk used that as a device but as a harmonic thing, via the rhythm.
John - It's funny that you mentioned that, cause I learned that when I started saxophone, and lost if over the years and was trying to learn it back from Howard Johnson, Howard does it very well. Howard talks about how Tom Scott was asking him about it too.
The guy Hawkins really dug was a player with Jelly Roll Morton and the Hot Peppers called Stomp Evans. Coleman said if Stomp would have come to N.Y. he would have been the cat. I got a chance to talk to Prince Robinson, he was in the same era, and coleman Hawkins loved him too. Prince played a lot with the McKinely Cotton Pickers, plus road work in band. I got to speak to him in 1973. He was really a force on the saxophone historically. Rudy Weidoff had a lot of influence on those cats cause he was the most recorded saxophone player in that time, before 1923 and all that. That slap-tongue thing was Stomp Evans with Jelly Roll Morton. They used it just like you said Tim, Stomp and Hawk used that slap-tongue as a harmonic and rhythmic device. Prince Robinson was bad too, cause he had the ability to run changes in a very modern way.
Tim - The saxophone has and always will be something that people enjoy, via the mass audience, it's just a matter of how it's presented along with some help from the press and media.
John - People will always enjoy it! Look, I just went to see Dewey Redman, and not only did he play his butt off, but he sand, "Mr. Sandman" I thought about it, see I used to watch the hit parade on T.V. in the early 50's. I didn't realize it then as I do now, people as they progressed became specialized in the music that they played. In those years everybody played the same thing. See, if you played "Body and Soul" it was played for the serious listener, it was played for dancing, it was played for everything. Today, it's a bit different. You got a funk player who only plays funk. You got a big band player who only does that. Years ago, a player did everything, and everything was what it was! Meaning that if you played a popular song, a sixteen year old DUG that as well as a 60 year old. So the hit parade show was one of the same. It was no this or that, JUST music all could enjoy. Recently, I was talking to Eddie Harris in California, and he and I were talking about this record he was asked to be on by Gerald Albright, and you know, Gerald had some hits out, he can play. He had Eddie Harris and Kirk Whalum as his guests on his record, and they were playing tunes, and that's great cause some people only knew Kirk and Gerald as pop cats. They can really blow! Here now people are playing all of the music. King Curtis could play all of the music!
Tim - If you listen to the record King Curtis did with Jimmy Forrest and Oliver Nelson, King Curtis will knock you out. Forget it!
John - That's right, forget it! He could play all of the music, and he was a student of Garvin Bushells. Have you heard Garvin Bushell with Jabbo Smith, it's a killer. Garvin Bushell was very together as you know Tim.
Tim - You don't have to tell me that John, Garvin used to help me on oboe and bassoon. HE made me some unreal oboe reeds, he was so together, and a beautiful teacher and player.
John - I got all my info. about Garvin Bushell from drummer Sam Wooding, when I was in Sams band. He told me everything I wanted to know. He and Charlie Gaines. Garvin was playing clarinet on this FAts Waller record with Garvin and Jabbo Smith, and Fats was playing the organ, and James P. Johnson is on piano (It's on R.C.A. Records). Garvin Bushell played clarinet better than anyone! If he wouldn't have left for Russia, and if he would have gotten pushed on clarinet it would have been all over. He would have been a big star.
Tim - Garvin was a total musician! He played with Coltrane, Fats Waller, Ella's big band, plus symphonic gigs. He did what a musician was to do in those days.
John - When I first came to New York from Chicago and the A.A.C.M. I was trying to play the music and instruments well, you know and be responsible.
Tim - You've known Pharoah Sanders for a long time.
John - No doubt about it, I've known Pharoah for about 37 years now. I meat Pharoah Sanders when he was a first clarinet player! And when he left little rock and moved to Oakland, I'd be in touch with Pharoah. All he'd talk about would be the way John Coltraine would go and listen to John gilmore night after night with Sun Ra. Coltrane was very much into the Sun Ra band then, around the mid 60's.
Tim - That's when they had Gilmore, but also giants like Pat Patrick and Charles Davis. John Gilmore also played beautiful bass clarinet on some Sun Ra C.D.'s that just came out on evidence.
John - He was a virtuoso clarinet player - when Gilmore came out of the air force he played first clarinet in the Earl "Fatha" Hines band. Sun RA met him when he was in the Hines band. He's a great clarinetist! Everybody in chicago knew that.
Tim - You know Gilmore had that one-ness from the plam keys on the tenor up thru the high harmonics like A Ribbon, it was seamless. IF you listen to him you'll hear that, a very complete player with his own style...
John - It's nice you're giving that man the credit, cause John Gilmore is by far one of the finest saxophone players on this planet. When people could summon his talent, they did. As Art Blakey did. I never forget hearing Gilmore play in memphis with Blakey, and I still can hear this cadenza John Gilmore played then; I can hear it yet today. It was on "Autumn In New York". I'll never forget it as long as I live. Gilmore played a great solo and master-piece cadenza. It was UNBELIEVABLE!
Tim - You know, out of that Chicago school as is Eddie Harris. That dude is so bad - he plays piano, and all of his books are vital for the saxophone. He's like a Marcel Mule of jazz. If I ever won the lottery, I'd rent a club and hire Eddie Harris and Andrew White and just sit back and watch their genius at work. Eddie got a lot of Chicago in him.
John - The chicago school is something. Yes, Eddie Harris is someone who not a lot of cats would want to mess with cause he's a genius. We've all known that for years. Charles Davis and I are compiling a list of Chicago saxists ....heard of, and unheard of. See, Chicago was a Lester Young town, that's what it was. When I hear Kirk Whalum play, I feel whether he knows it or not, he's carrying on a tradition of Evelyn Young in memphis. She's a memphis lady, and that's a school unto itself. I come out of her, Hank Crawford comes out of her. She's the one who was around the Texas musicians who came to Memphis with Jelly Roll Morton. America don't know how much they owe Evelyn Young. The schools that the saxophone comes thru are vital yet today. Chicago, Detroit, Philly, and Texas. See, today Coleman Hawkins and Lester Young are still very vital today, and always will be.
Tim - What are some things you practice?
John - Well, one of the things I practice that John Gilmore turned me onto, is I practice out of drum books. The Louis Bellson ones. I practice rhythms, and study rhythm. I also practice long tones a lot. It helps you express yourself. If you can control your sound you have a more powerful weapon. I practice a bunch of different keys, standard tunes, plus I practice my own music, that's a dimension too. I like to work on styles of the horn.
Tim - Where are some records where people can get into your playing a lot. Any favorites?
John - The Kenny Barron record "What If". (on ENJA records) - It shows the whole thing I'm coming from with the Lydian concept of playing bi-tonal sounds that are not moving in II V areas. That recorded tells a lot of my studies. The Sonny Phillips record on Muse I like a lot. Also the Delmark recrods with Joseph Jarman and Maurice McIntyre in the 60', I was playing that music with a passion in those times. I just did one with Craig Harris, also I did a Billy Hart record on Arabesque records. There are a lot of style on there, plus I was really into my altissimo register on Billy's record. That's a special area. You know Eddie Harrris has that down, but have you heard this guy Marc Russo? Marc can really go up there! He used to play with the "yellowjackets". plus I heard him at my friends house, David Eye, David is Smokey Robinson's sax player, and is also from Little Rock. David played me some stuff of Marc's that really was impressive. I've done close to 70 records with different people, but as of now those are some of my favorites.
Jazz News: John Stubblefield Feb. 4, 1945-July 4, 2005
Jazz News: John Stubblefield Feb. 4, 1945-July 4, 2005
Jazz News News Center
John Stubblefield Feb. 4, 1945-July 4, 2005
Posted: 2005-07-05
5 July 2005 At five minutes before seven on the evening of the forth July 2005, after enduring great suffering with remarkable strength and courage, our beloved John Stubblefield left us on a soft note held gently at the end of a bitter sweet ballad. Surrounded with love by sweetheart Katherine Gogel, sister Joyce Pattillo, cousins Harry Stubblefield and Stephanie Barber, and by friends Rolando Briceño and Yvonne, John quietly passed away into paradise, where he will compose brilliant works and perform music to fill the universe with love, hope and joy. We will continue to be inspired by John’s generosity of spirit, his for ever glowing soul, and the vision of John’s smiling face, which always lights up the lives of everyone he encountered. Thank you for sharing with us your thoughts about how John touched your lives. May peace be with us all. Sincerely, Katherine, Joyce, Harry and Stephanie p.s. : Please pass this message on.
Katherine Gogel 5 Granison Road Weston, MA 02493 email: jazzgreens11@yahoo.com 27th June 2005 Since the 3rd April 2004, John Stubblefield has been hospitalized with prostate cancer. I have been with him most of the time. Now I am with John day and night. John is now here at Calvary Hospital in the Bronx. John is very quiet these days. He also eats very little food and drinks a little water. On the 19th May 2005, John’s blood pressure dropped drastically to 60 over 40. He was listed as critical. We expected that we had very little time left with John. Recently, John has been taken off the critical list. Just the same, I stay with John day and night. We still take each moment as it comes. Some great things have happened since John was first hospitalized. In September 2004, we went to Symphony Space in Manhattan, where the Mingus Big Band was performing at a John Kerry fund raiser. John was on stage with the band, sitting in his wheel chair, microphone in front of him. He recited “Don’t Let It Happen” (the title?). John felt really good about being back on stage with the band again and feeling the music so close. In October 2004, we went to the recording studio where Sue Mingus has assembled the Mingus Big Band to record “Song With Orange”, “Orange Was The Color Of Her Dress, Then Blue Silk”, and “Pedal Point Blues”, all arranged by John. During this six-hour session, John conducted the band. The recording was released on 7th June 2005. We have been hearing good reviews about John’s arrangements. On 4th February 2005, John’s sister Joyce had organized a surprise birthday party for John at the apartment of Sue Mingus. Many of John’s friends and family members were there. The apartment was bursting. He was indeed surprised. While John was at the nursing home, he completed writing a 4th arrangement to a Mingus composition: “Prayer For A Passive Resistance”. The band has performed it and John made sure they did it right after hearing the tapes. One day Boris Kozlov came the orchestral score and they made final corrections. On the 23rd May 2005, Pastor Lind from Saint Peter’s church in Manhattan came to bless John. After the blessing, John wanted to phone my mother. When we put her on, he asked her: “May I have permission to take your daughter’s hand in marriage?” We were all surprised and touched. Joyce and Rolando Briceño were there. Pastor Lind ministered the marriage ceremony. It was really sweet and brought much joy. Here at Calvary Hospital, John has received two very prominent visitors, bringing joy and excitement to all those around. In March, Bill Cosby arrived one morning, taking John completely by surprise. He was most delightful and even took time to look in on other patients. On Thursday, the 16th June 2005, President Clinton arrived to visit John. It was a gorgeous visit, making so many people happy. Clinton spoke of his saxophones. He has not been able to play since three years, having written his book and then undergoing the heart surgery. Clinton also visited patients on his way out Many have come from near and far to visit John since April 2004. We are grateful for all your support and healing thoughts. John is very quiet now. We like to hold hands and smile at each other. All we want is peace. Thank you and be well. Katherine
Jazz News News Center
John Stubblefield Feb. 4, 1945-July 4, 2005
Posted: 2005-07-05
5 July 2005 At five minutes before seven on the evening of the forth July 2005, after enduring great suffering with remarkable strength and courage, our beloved John Stubblefield left us on a soft note held gently at the end of a bitter sweet ballad. Surrounded with love by sweetheart Katherine Gogel, sister Joyce Pattillo, cousins Harry Stubblefield and Stephanie Barber, and by friends Rolando Briceño and Yvonne, John quietly passed away into paradise, where he will compose brilliant works and perform music to fill the universe with love, hope and joy. We will continue to be inspired by John’s generosity of spirit, his for ever glowing soul, and the vision of John’s smiling face, which always lights up the lives of everyone he encountered. Thank you for sharing with us your thoughts about how John touched your lives. May peace be with us all. Sincerely, Katherine, Joyce, Harry and Stephanie p.s. : Please pass this message on.
Katherine Gogel 5 Granison Road Weston, MA 02493 email: jazzgreens11@yahoo.com 27th June 2005 Since the 3rd April 2004, John Stubblefield has been hospitalized with prostate cancer. I have been with him most of the time. Now I am with John day and night. John is now here at Calvary Hospital in the Bronx. John is very quiet these days. He also eats very little food and drinks a little water. On the 19th May 2005, John’s blood pressure dropped drastically to 60 over 40. He was listed as critical. We expected that we had very little time left with John. Recently, John has been taken off the critical list. Just the same, I stay with John day and night. We still take each moment as it comes. Some great things have happened since John was first hospitalized. In September 2004, we went to Symphony Space in Manhattan, where the Mingus Big Band was performing at a John Kerry fund raiser. John was on stage with the band, sitting in his wheel chair, microphone in front of him. He recited “Don’t Let It Happen” (the title?). John felt really good about being back on stage with the band again and feeling the music so close. In October 2004, we went to the recording studio where Sue Mingus has assembled the Mingus Big Band to record “Song With Orange”, “Orange Was The Color Of Her Dress, Then Blue Silk”, and “Pedal Point Blues”, all arranged by John. During this six-hour session, John conducted the band. The recording was released on 7th June 2005. We have been hearing good reviews about John’s arrangements. On 4th February 2005, John’s sister Joyce had organized a surprise birthday party for John at the apartment of Sue Mingus. Many of John’s friends and family members were there. The apartment was bursting. He was indeed surprised. While John was at the nursing home, he completed writing a 4th arrangement to a Mingus composition: “Prayer For A Passive Resistance”. The band has performed it and John made sure they did it right after hearing the tapes. One day Boris Kozlov came the orchestral score and they made final corrections. On the 23rd May 2005, Pastor Lind from Saint Peter’s church in Manhattan came to bless John. After the blessing, John wanted to phone my mother. When we put her on, he asked her: “May I have permission to take your daughter’s hand in marriage?” We were all surprised and touched. Joyce and Rolando Briceño were there. Pastor Lind ministered the marriage ceremony. It was really sweet and brought much joy. Here at Calvary Hospital, John has received two very prominent visitors, bringing joy and excitement to all those around. In March, Bill Cosby arrived one morning, taking John completely by surprise. He was most delightful and even took time to look in on other patients. On Thursday, the 16th June 2005, President Clinton arrived to visit John. It was a gorgeous visit, making so many people happy. Clinton spoke of his saxophones. He has not been able to play since three years, having written his book and then undergoing the heart surgery. Clinton also visited patients on his way out Many have come from near and far to visit John since April 2004. We are grateful for all your support and healing thoughts. John is very quiet now. We like to hold hands and smile at each other. All we want is peace. Thank you and be well. Katherine
Tuesday, July 05, 2005
Tonight - Abdullah Ibrahim seeks talent for his city big band
Tonight - Abdullah Ibrahim seeks talent for his city big bandWESTERN CAPE
Abdullah Ibrahim seeks talent for his city big band
July 5, 2005
Cape Town will soon have its own jazz orchestra, the brainchild of internationally acclaimed jazz musician Abdullah Ibrahim.
Auditions for the Big Band component of the Cape Town Jazz Orchestra will be held in Cape Town, Durban and Johannesburg in the second half of this month. The CTJO Big Band will be officially launched in October or November this year.
Big bands normally have at least 18 members, but Ibrahim hopes to form a pool of musicians who could be used for various events.
He plans to launch a full chamber orchestra and the third phase of this project will involve a choral and traditional element. Auditions for the big band will be held from July 15 to 18 at the M7 Academy, 106 Darling Street, Cape Town, from 10am to 4pm.
Those applying should have excellent music-reading skills, with experience in jazz preferable but not essential
. No submissions will be necessary, but CVs should be brought along on audition day. There will be no callbacks.
Ibrahim will be returning briefly to South Africa on July 14.
Details: Marysa Leukes at the M7 Academy, 021 465 6261 or 082 769 4480, fax 021 461 9938 or e-mail mseven@mweb.co.za/
A movie on Ibrahim's life, Abdullah Ibrahim: A Struggle for Love, will be shown at the Encounters documentary festival at 8.15pm on Sunday, July 17, and at 6pm on Thursday, July 21, at Cinema Nouveau in the Waterfront.
In March, the film won a German TV award, the Adolf Grimme-Preis, beating 40 other films. It was premiéred at Ibrahim's 70th birthday celebrations in Germany in October last year.
Abdullah Ibrahim seeks talent for his city big band
July 5, 2005
Cape Town will soon have its own jazz orchestra, the brainchild of internationally acclaimed jazz musician Abdullah Ibrahim.
Auditions for the Big Band component of the Cape Town Jazz Orchestra will be held in Cape Town, Durban and Johannesburg in the second half of this month. The CTJO Big Band will be officially launched in October or November this year.
Big bands normally have at least 18 members, but Ibrahim hopes to form a pool of musicians who could be used for various events.
He plans to launch a full chamber orchestra and the third phase of this project will involve a choral and traditional element. Auditions for the big band will be held from July 15 to 18 at the M7 Academy, 106 Darling Street, Cape Town, from 10am to 4pm.
Those applying should have excellent music-reading skills, with experience in jazz preferable but not essential
. No submissions will be necessary, but CVs should be brought along on audition day. There will be no callbacks.
Ibrahim will be returning briefly to South Africa on July 14.
Details: Marysa Leukes at the M7 Academy, 021 465 6261 or 082 769 4480, fax 021 461 9938 or e-mail mseven@mweb.co.za/
A movie on Ibrahim's life, Abdullah Ibrahim: A Struggle for Love, will be shown at the Encounters documentary festival at 8.15pm on Sunday, July 17, and at 6pm on Thursday, July 21, at Cinema Nouveau in the Waterfront.
In March, the film won a German TV award, the Adolf Grimme-Preis, beating 40 other films. It was premiéred at Ibrahim's 70th birthday celebrations in Germany in October last year.
WVIZ/PBS: Featured Program
WVIZ/PBS: Featured ProgramWVIZ
American Masters: Satchmo - The Life of Louis Armstrong
Wednesday, July 6 at 9:00 PM
A self-taught trumpet player and singer burst onto the scene at age 17 in 1918, replacing the legendary King Oliver in Kid Ory’s band. Over the next six decades he would turn the world of music on its ear and become one of the world’s most recognized and best-loved entertainers. He recorded albums in every conceivable genre, from country to show tunes, toured the globe and influenced virtually “every musician of worth in popular music or jazz,” as Tony Bennett says in this film by Gary Giddins. He was also an outspoken symbol of the civil rights movement, making a goodwill tour of western Africa and refusing to patronize New York clubs from which he had once been excluded. Named Best Music Video by Jazz Times Magazine in 1989, this film tracks Armstrong’s life and career through recordings, performance footage, rare home movies, and interviews with friends and colleagues — among them Wynton Marsalis, Tony Bennett, Dave Brubeck, Lester Bowie, Dexter Gordon, Milt Hinton and many others.
Then…stay tuned to WVIZ/PBS for “Alma’s Jazzy Marriage” at 10:30pm. In ALMA'S JAZZY MARRIAGE, Alma Foster recalls her life with her husband, seminal jazz bassist George "Pops" Foster. Foster popularized the slap bass style, an innovation which changed jazz's rhythm section forever. ALMA'S JAZZY MARRIAGE is a behind the scenes look at some of the giants of jazz, told from a woman's perspective — from Harlem in the 1920s and '30s, through hilarious road trips and life in San Francisco. Family photos and archival film, as well as a rare interview with Alma, whose memory and wit "as sharp as a 10-penny nail," bring this duo's colorful marriage to life.
American Masters: Satchmo - The Life of Louis Armstrong
Wednesday, July 6 at 9:00 PM
A self-taught trumpet player and singer burst onto the scene at age 17 in 1918, replacing the legendary King Oliver in Kid Ory’s band. Over the next six decades he would turn the world of music on its ear and become one of the world’s most recognized and best-loved entertainers. He recorded albums in every conceivable genre, from country to show tunes, toured the globe and influenced virtually “every musician of worth in popular music or jazz,” as Tony Bennett says in this film by Gary Giddins. He was also an outspoken symbol of the civil rights movement, making a goodwill tour of western Africa and refusing to patronize New York clubs from which he had once been excluded. Named Best Music Video by Jazz Times Magazine in 1989, this film tracks Armstrong’s life and career through recordings, performance footage, rare home movies, and interviews with friends and colleagues — among them Wynton Marsalis, Tony Bennett, Dave Brubeck, Lester Bowie, Dexter Gordon, Milt Hinton and many others.
Then…stay tuned to WVIZ/PBS for “Alma’s Jazzy Marriage” at 10:30pm. In ALMA'S JAZZY MARRIAGE, Alma Foster recalls her life with her husband, seminal jazz bassist George "Pops" Foster. Foster popularized the slap bass style, an innovation which changed jazz's rhythm section forever. ALMA'S JAZZY MARRIAGE is a behind the scenes look at some of the giants of jazz, told from a woman's perspective — from Harlem in the 1920s and '30s, through hilarious road trips and life in San Francisco. Family photos and archival film, as well as a rare interview with Alma, whose memory and wit "as sharp as a 10-penny nail," bring this duo's colorful marriage to life.
FALL PREVIEWS 2005 Jazz at Lincoln Center :: eJazzNews.com : The Number One Jazz News Resource On The Net :: Jazz News Daily
FALL PREVIEWS 2005 Jazz at Lincoln Center :: eJazzNews.com : The Number One Jazz News Resource On The Net :: Jazz News Daily FALL PREVIEWS 2005 Jazz at Lincoln Center
Posted by: editoron Tuesday, July 05, 2005 - 05:26 PM
Jazz News
Jazz at Lincoln Center has an exciting new season approaching for consideration in your Fall Preview. Entitled “Jazz from Coast to Coast,” the 2005-06 season features cities nationwide that have enriched jazz music. Cities being spotlighted include: Kansas City, New Orleans, Los Angeles, Detroit and Philadelphia.
Here are some specific events for your consideration:
v Diet Coke Women In Jazz Festival in Dizzy’s Club Coca-Cola September 6, 2005-October 2, 2005 featuring some of the most influential women in jazz today from Nnennah Freelon to Marian McPartland.
v Kansas City Festival with the Lincoln Center Jazz Orchestra encompasses all performance venues of our home, Frederick P. Rose Hall including: Rose Theater, The Allen Room and Dizzy’s Club Coca-Cola and celebrates the contributions of Kansas City September 22-24.
v Jazz Con Salsa series with Arturo O’Farrill and the Afro-Latin Jazz Orchestra appearing September 30 and October 1. These Latin luminaries light up the evening in The Allen Room’s breathtaking setting overlooking Central Park and the Manhattan skyline.
v Singers Over Manhattan in The Allen Room features the Eric Reed Trio and three exciting vocalists Carla Cook, Sachal Vasandani and Jennifer Sanon appearing October 20-22.
v This season the Jazz at Lincoln Center education courses continue. Jazz 101 will be held in the Edward John Noble Studio, and for the toddler set (ages 2-5), the fun begins with WeBop! classes in the Louis Armstrong Classroom.
Thank you for considering these productions in your Fall Previews (full listings with photo links below).
Please contact me for more information. Thank you.
Best regards,
Scott H. Thompson
Assistant Director – Public Relations
Jazz at Lincoln Center
33 W. 60th St., Floor 11, New York, NY 10023-7999
212-258-9807
sthompson@jalc.org
www.jalc.org
LISTING HIGHLIGHTS
q Diet Coke Women In Jazz Festival – September 6-October 2, 2005
High resolution, downloadable photos of the performers in the Diet Coke Women in Jazz Festival available at: http://www.jalc.org/04_05/2005_Galleries/womeninjazz
Diet Coke Women In Jazz Festival
September 6-October 2, 2005
Dizzy’s Club Coca-Cola / Set Times 7:30 & 9:30pm every night, 11:30pm set Friday & Saturday
Diet Coke, the world's leading diet soft drink, and Jazz at Lincoln Center, the not-for-profit arts organization dedicated to enriching the artistic substance and perpetuating the democratic spirit of America’s music, presents the first-ever Diet Coke Women in Jazz Festival at Dizzy’s Club Coca-Cola, a celebration of the great contributions women performers have made to jazz music.
Reservations: $30 cover charge w/ $10 minimum, call 212-258-9595
The artists scheduled to perform include:
September 6 – 11 Angela Bofill
September 12 UPSTARTS! – Tia Fuller Quintet / Stephanie Nakasian with Hod O’Brien Trio
September 13 Marian McPartland – special solo piano concerts
September 14, 15 Rita Coolidge
September 16, 17 Toshiko Akiyoshi Trio with special guests
September 18 Tessa Souter / Cynthia Scott
September 19 UPSTARTS! – IAJE Sisters in Jazz
September 20, 21 Claudia Acuña Quartet
September 22 Basie, Blues & Beyond: Karrin Allyson, Nancy King & Friends
September 23, 24 Sherrie Maricle and DIVA Jazz Orchestra with Ann Hampton Callaway & special guests
September 25 Lynne Arriale Trio with special guests
September 26 UPSTARTS! – Terri Lyne Carrington with special student guests
September 27 Helen Merrill Quartet
September 28 Jane Ira Bloom
September 29 Joanne Brackeen / Bertha Hope Quintet
Sept 30, Oct 1 Barbara Carroll Trio with special guests
October 2 Nnennah Freelon / Leeanne Ledgerwood Trio
q Kansas City Festival – September 22-24, 2005
High resolution, downloadable photos of Lincoln Center Jazz Orchestra at: http://www.jalc.org/presenters/images/index.html
Kansas City: K.C. and The Count
Lincoln Center Jazz Orchestra with Wynton Marsalis
Featuring guest artist Frank Wess
September 22, 23 & 24, 2005, Rose Theater, 8pm
The 2005-2006 season, “Jazz from Coast to Coast,” opens with a celebration of Kansas City jazz. The LINCOLN CENTER JAZZ ORCHESTRA with WYNTON MARSALIS performs the music of influential Kansas City jazz musicians, particularly the legendary Count Basie and his spare signature piano style. The city’s significant history includes saxophonist FRANK WESS, who played in Count Basie’s big band and will to play some of the best of Kansas City’s boogie woogie jazz. This special Kansas City show integrates new talent inspired by rich tradition.
Tickets: $30, $50, $75, $100, $130 / Call 212-721-6500
Kansas City: K.C. Boogie-Woogie
Featuring Bobby Watson’s Boogie-Woogie Jump Band and the Juilliard Jazz Orchestra
September 22, 23 & 24, 2005, The Allen Room, 7:30pm
As part of the Kansas City festival, saxophonist and bandleader BOBBY WATSON and the JUILLIARD JAZZ ORCHESTRA (celebrating its centennial) come together to perform some of the best of Kansas City’s boogie-woogie jazz. Bobby Watson’s Boogie-Woogie Jump Band brings these swingin’ sounds and this distinctive Kansas City style - famed for its percussive piano sound - to The Allen Room.
Tickets: $40, $75, $130 / Call 212-721-6500
Jazz 101: Kansas City-Swing Territory (see Jazz Education section for listing details.)
Kansas City represented in Dizzy’s Club Coca-Cola – Diet Coke Women In Jazz Festival
Basie, Blues & Beyond: Karrin Allyson, Nancy King & Friends
September 22, 2005, Dizzy’s Club Coca-Cola, Set Times 7:30 & 9:30pm every night, 11:30pm set Friday & Saturday
Karrin Allyson from Kansas City represents the Midwest jazz city at the club.
For reservations call: 212.258.9595, $30 cover charge w/ $10 minimum
q Jazz Education – September 17-November 8, 2005
High resolution, downloadable photos of Jazz for Young People, are available at: http://www.jalc.org/04_05/2004_galleries/j4yp/index.html
WeBop! Saturdays, September 17-November 8, 2005, Louis Armstrong Classroom
Saturdays, September 17-November 8, 2005, Louis Armstrong Classroom
· Stompers, 2-3 year olds, 10:30 - 11:15am
· Gumbo Group, 2-5 year olds, 11:30 – 12:15pm
Tuesdays, September 20-November 10, 2005, Louis Armstrong Classroom
· Stompers, 2-3 year olds, 9:30-10:15am
· Syncopators, 4-5 year olds, 10:30-11:15am
Back for a second season, WeBop! is a music education program in which young children and their parents/caregivers sing, move and play the soulful rhythms and melodies of great jazz. WeBop! teachers lead children ages 2 –5 to a greater understanding of jazz and of their national musical heritage.
Registration fee: $240 / Call 212-721-6500
Jazz 101: The Intro with Dr. Lewis Porter, Author and Rutgers University Professor
September 21-November 8, 2005, Edward John Noble Foundation Studio, 6:30 – 8:30pm
Why was Edward Ellington called “Duke?” How did Louis Armstrong revolutionize jazz? Learn the basics and increase your enjoyment of jazz in this popular series.
Registration fee: $240 / Call 212-721-6500
Jazz 101: Kansas City: Swing Territory with Loren Schoenberg, Executive Director of the Harlem Jazz Museum and Grammy Winning Writer
September 21-November 8, 2005, Edward John Noble Foundation Studio, 6:30 – 8:30pm
Take a trip to Kansas City without ever leaving Frederick P. Rose Hall. This class will provide insight to the first city celebrated in Jazz at Lincoln Center’s season “Jazz from Coast to Coast” and the musicians that were responsible for the unique Kansas City sound.
Registration fee: $240 / Call 212-721-6500
q Jazz con Salsa – September 30-October 1, 2005
High resolution, downloadable photos of the Afro-Latin Jazz Orchestra available at: http://www.jalc.org/presenters/images/aljo.html
Jazz con Salsa
Featuring the Afro-Latin Jazz Orchestra and Arturo O’Farrill & Special Guests Joe Lovano, Lew Soloff & Greg Osby
September 30 & October 1, 2005, Rose Theater, 8pm
The AFRO-LATIN JAZZ ORCHESTRA with ARTURO O’FARRILL brings together the styles of salsa and jazz in an eclectic mixture of rhythm and groove. Guest artists JOE LOVANO, LEW SOLOFF and GREG OSBY join the Afro-Latin Jazz Orchestra to showcase the finest in Latin and straight ahead jazz rhythm new and old.
Tickets: $30, $50, $75, $100, $130 / Call 212-721-6500
q Singers Over Manhattan – October 20-22, 2005
High resolution, downloadable photos of 2005-06 season artists available at:
http://www.jalc.org/press/photos_06.asp
Singers Over Manhattan
Featuring the Eric Reed Trio, Carla Cook, Sachal Vasandani and Jennifer Sanon
October 20, 21, & 22, 2005, The Allen Room, 7:30pm
The Singers Over Manhattan show returns to The Allen Room for a series of evenings with some of the great jazz vocalists of today. Led by the ERIC REED TRIO, the incredibly talented CARLA COOK, SACHAL VASANDANI and JENNIFER SANON showcase their vocal flair.
Tickets: $40, $75, $130 / Call 721-721-6500
Posted by: editoron Tuesday, July 05, 2005 - 05:26 PM
Jazz News
Jazz at Lincoln Center has an exciting new season approaching for consideration in your Fall Preview. Entitled “Jazz from Coast to Coast,” the 2005-06 season features cities nationwide that have enriched jazz music. Cities being spotlighted include: Kansas City, New Orleans, Los Angeles, Detroit and Philadelphia.
Here are some specific events for your consideration:
v Diet Coke Women In Jazz Festival in Dizzy’s Club Coca-Cola September 6, 2005-October 2, 2005 featuring some of the most influential women in jazz today from Nnennah Freelon to Marian McPartland.
v Kansas City Festival with the Lincoln Center Jazz Orchestra encompasses all performance venues of our home, Frederick P. Rose Hall including: Rose Theater, The Allen Room and Dizzy’s Club Coca-Cola and celebrates the contributions of Kansas City September 22-24.
v Jazz Con Salsa series with Arturo O’Farrill and the Afro-Latin Jazz Orchestra appearing September 30 and October 1. These Latin luminaries light up the evening in The Allen Room’s breathtaking setting overlooking Central Park and the Manhattan skyline.
v Singers Over Manhattan in The Allen Room features the Eric Reed Trio and three exciting vocalists Carla Cook, Sachal Vasandani and Jennifer Sanon appearing October 20-22.
v This season the Jazz at Lincoln Center education courses continue. Jazz 101 will be held in the Edward John Noble Studio, and for the toddler set (ages 2-5), the fun begins with WeBop! classes in the Louis Armstrong Classroom.
Thank you for considering these productions in your Fall Previews (full listings with photo links below).
Please contact me for more information. Thank you.
Best regards,
Scott H. Thompson
Assistant Director – Public Relations
Jazz at Lincoln Center
33 W. 60th St., Floor 11, New York, NY 10023-7999
212-258-9807
sthompson@jalc.org
www.jalc.org
LISTING HIGHLIGHTS
q Diet Coke Women In Jazz Festival – September 6-October 2, 2005
High resolution, downloadable photos of the performers in the Diet Coke Women in Jazz Festival available at: http://www.jalc.org/04_05/2005_Galleries/womeninjazz
Diet Coke Women In Jazz Festival
September 6-October 2, 2005
Dizzy’s Club Coca-Cola / Set Times 7:30 & 9:30pm every night, 11:30pm set Friday & Saturday
Diet Coke, the world's leading diet soft drink, and Jazz at Lincoln Center, the not-for-profit arts organization dedicated to enriching the artistic substance and perpetuating the democratic spirit of America’s music, presents the first-ever Diet Coke Women in Jazz Festival at Dizzy’s Club Coca-Cola, a celebration of the great contributions women performers have made to jazz music.
Reservations: $30 cover charge w/ $10 minimum, call 212-258-9595
The artists scheduled to perform include:
September 6 – 11 Angela Bofill
September 12 UPSTARTS! – Tia Fuller Quintet / Stephanie Nakasian with Hod O’Brien Trio
September 13 Marian McPartland – special solo piano concerts
September 14, 15 Rita Coolidge
September 16, 17 Toshiko Akiyoshi Trio with special guests
September 18 Tessa Souter / Cynthia Scott
September 19 UPSTARTS! – IAJE Sisters in Jazz
September 20, 21 Claudia Acuña Quartet
September 22 Basie, Blues & Beyond: Karrin Allyson, Nancy King & Friends
September 23, 24 Sherrie Maricle and DIVA Jazz Orchestra with Ann Hampton Callaway & special guests
September 25 Lynne Arriale Trio with special guests
September 26 UPSTARTS! – Terri Lyne Carrington with special student guests
September 27 Helen Merrill Quartet
September 28 Jane Ira Bloom
September 29 Joanne Brackeen / Bertha Hope Quintet
Sept 30, Oct 1 Barbara Carroll Trio with special guests
October 2 Nnennah Freelon / Leeanne Ledgerwood Trio
q Kansas City Festival – September 22-24, 2005
High resolution, downloadable photos of Lincoln Center Jazz Orchestra at: http://www.jalc.org/presenters/images/index.html
Kansas City: K.C. and The Count
Lincoln Center Jazz Orchestra with Wynton Marsalis
Featuring guest artist Frank Wess
September 22, 23 & 24, 2005, Rose Theater, 8pm
The 2005-2006 season, “Jazz from Coast to Coast,” opens with a celebration of Kansas City jazz. The LINCOLN CENTER JAZZ ORCHESTRA with WYNTON MARSALIS performs the music of influential Kansas City jazz musicians, particularly the legendary Count Basie and his spare signature piano style. The city’s significant history includes saxophonist FRANK WESS, who played in Count Basie’s big band and will to play some of the best of Kansas City’s boogie woogie jazz. This special Kansas City show integrates new talent inspired by rich tradition.
Tickets: $30, $50, $75, $100, $130 / Call 212-721-6500
Kansas City: K.C. Boogie-Woogie
Featuring Bobby Watson’s Boogie-Woogie Jump Band and the Juilliard Jazz Orchestra
September 22, 23 & 24, 2005, The Allen Room, 7:30pm
As part of the Kansas City festival, saxophonist and bandleader BOBBY WATSON and the JUILLIARD JAZZ ORCHESTRA (celebrating its centennial) come together to perform some of the best of Kansas City’s boogie-woogie jazz. Bobby Watson’s Boogie-Woogie Jump Band brings these swingin’ sounds and this distinctive Kansas City style - famed for its percussive piano sound - to The Allen Room.
Tickets: $40, $75, $130 / Call 212-721-6500
Jazz 101: Kansas City-Swing Territory (see Jazz Education section for listing details.)
Kansas City represented in Dizzy’s Club Coca-Cola – Diet Coke Women In Jazz Festival
Basie, Blues & Beyond: Karrin Allyson, Nancy King & Friends
September 22, 2005, Dizzy’s Club Coca-Cola, Set Times 7:30 & 9:30pm every night, 11:30pm set Friday & Saturday
Karrin Allyson from Kansas City represents the Midwest jazz city at the club.
For reservations call: 212.258.9595, $30 cover charge w/ $10 minimum
q Jazz Education – September 17-November 8, 2005
High resolution, downloadable photos of Jazz for Young People, are available at: http://www.jalc.org/04_05/2004_galleries/j4yp/index.html
WeBop! Saturdays, September 17-November 8, 2005, Louis Armstrong Classroom
Saturdays, September 17-November 8, 2005, Louis Armstrong Classroom
· Stompers, 2-3 year olds, 10:30 - 11:15am
· Gumbo Group, 2-5 year olds, 11:30 – 12:15pm
Tuesdays, September 20-November 10, 2005, Louis Armstrong Classroom
· Stompers, 2-3 year olds, 9:30-10:15am
· Syncopators, 4-5 year olds, 10:30-11:15am
Back for a second season, WeBop! is a music education program in which young children and their parents/caregivers sing, move and play the soulful rhythms and melodies of great jazz. WeBop! teachers lead children ages 2 –5 to a greater understanding of jazz and of their national musical heritage.
Registration fee: $240 / Call 212-721-6500
Jazz 101: The Intro with Dr. Lewis Porter, Author and Rutgers University Professor
September 21-November 8, 2005, Edward John Noble Foundation Studio, 6:30 – 8:30pm
Why was Edward Ellington called “Duke?” How did Louis Armstrong revolutionize jazz? Learn the basics and increase your enjoyment of jazz in this popular series.
Registration fee: $240 / Call 212-721-6500
Jazz 101: Kansas City: Swing Territory with Loren Schoenberg, Executive Director of the Harlem Jazz Museum and Grammy Winning Writer
September 21-November 8, 2005, Edward John Noble Foundation Studio, 6:30 – 8:30pm
Take a trip to Kansas City without ever leaving Frederick P. Rose Hall. This class will provide insight to the first city celebrated in Jazz at Lincoln Center’s season “Jazz from Coast to Coast” and the musicians that were responsible for the unique Kansas City sound.
Registration fee: $240 / Call 212-721-6500
q Jazz con Salsa – September 30-October 1, 2005
High resolution, downloadable photos of the Afro-Latin Jazz Orchestra available at: http://www.jalc.org/presenters/images/aljo.html
Jazz con Salsa
Featuring the Afro-Latin Jazz Orchestra and Arturo O’Farrill & Special Guests Joe Lovano, Lew Soloff & Greg Osby
September 30 & October 1, 2005, Rose Theater, 8pm
The AFRO-LATIN JAZZ ORCHESTRA with ARTURO O’FARRILL brings together the styles of salsa and jazz in an eclectic mixture of rhythm and groove. Guest artists JOE LOVANO, LEW SOLOFF and GREG OSBY join the Afro-Latin Jazz Orchestra to showcase the finest in Latin and straight ahead jazz rhythm new and old.
Tickets: $30, $50, $75, $100, $130 / Call 212-721-6500
q Singers Over Manhattan – October 20-22, 2005
High resolution, downloadable photos of 2005-06 season artists available at:
http://www.jalc.org/press/photos_06.asp
Singers Over Manhattan
Featuring the Eric Reed Trio, Carla Cook, Sachal Vasandani and Jennifer Sanon
October 20, 21, & 22, 2005, The Allen Room, 7:30pm
The Singers Over Manhattan show returns to The Allen Room for a series of evenings with some of the great jazz vocalists of today. Led by the ERIC REED TRIO, the incredibly talented CARLA COOK, SACHAL VASANDANI and JENNIFER SANON showcase their vocal flair.
Tickets: $40, $75, $130 / Call 721-721-6500
Oscar Peterson - First night reviews - Times Online
Oscar Peterson - First night reviews - Times OnlineJuly 05, 2005
Jazz
Oscar Peterson
Alyn Shipton at Albert Hall
USUALLY, jazz evenings finish with the band’s best playing, then there’s a tumultuous drum solo, and everyone goes home. By contrast, Oscar Peterson’s return to the Albert Hall began with a drum solo from his newest recruit, Alvin Queen — a brilliant American musician based in Switzerland — before the bassist David Young strolled out to join him, then the guitarist Ulf Wakenius, and finally Peterson himself. The group’s tightest playing was tucked into the first 30 minutes, while everyone was still fresh and energetic, and the rest of the concert was mostly about keeping that initial momentum going.
The warm standing ovation that greeted the pianist was momentarily checked as it became obvious that the big man, now bent with age, was having a painful time of it walking to the piano, and a mixture of affection and concern washed through the crowd. As he settled on his stool and began to play, the years and his physical problems fell away.
Peterson’s most delicate and assured playing came on his own pieces, such as the haunting Love Ballade, with its delicate Chopinesque beginning, its broad dynamic range, and singing piano sound.
Hearing this, there was no doubt that we were listening to one of the world’s greatest jazz pianists, although immediately before it, the rapid runs in Cakewalk, with guitar and piano slightly out of synch, had sounded like platefuls of scrambled egg.
On the equally brisk Backyard Blues the playing was much crisper, and the piano’s goading, bluesy runs and gospelly turnarounds prompted some flying playing from all concerned. Young had the hardest job of the evening, replacing Niels-Henning Ørsted Pedersen, who died shortly after the tour was announced. In tribute, Young’s solo version of the Danish folksong In the Still of the Woods was beautifully played, with a singing upper register and immaculate projection. What he lacked, however, was Pedersen’s ability to inject swing. Too much of the burden fell on Wakenius, who overcompensated, thereby killing the spirit of relaxation at speed which used to be such a feature of this band.
That said, the quartet played two full sets, there was an admirable balance of familiar hits and new material, and a heartfelt Requiem for Peterson’s contemporaries who are no longer with us. To see and hear this great survivor igniting more than the occasional spark of his youthful genius, six weeks short of his 80th birthday, was a highly emotional experience, and we were all back on our feet when it came time to bid him farewell.
Jazz
Oscar Peterson
Alyn Shipton at Albert Hall
USUALLY, jazz evenings finish with the band’s best playing, then there’s a tumultuous drum solo, and everyone goes home. By contrast, Oscar Peterson’s return to the Albert Hall began with a drum solo from his newest recruit, Alvin Queen — a brilliant American musician based in Switzerland — before the bassist David Young strolled out to join him, then the guitarist Ulf Wakenius, and finally Peterson himself. The group’s tightest playing was tucked into the first 30 minutes, while everyone was still fresh and energetic, and the rest of the concert was mostly about keeping that initial momentum going.
The warm standing ovation that greeted the pianist was momentarily checked as it became obvious that the big man, now bent with age, was having a painful time of it walking to the piano, and a mixture of affection and concern washed through the crowd. As he settled on his stool and began to play, the years and his physical problems fell away.
Peterson’s most delicate and assured playing came on his own pieces, such as the haunting Love Ballade, with its delicate Chopinesque beginning, its broad dynamic range, and singing piano sound.
Hearing this, there was no doubt that we were listening to one of the world’s greatest jazz pianists, although immediately before it, the rapid runs in Cakewalk, with guitar and piano slightly out of synch, had sounded like platefuls of scrambled egg.
On the equally brisk Backyard Blues the playing was much crisper, and the piano’s goading, bluesy runs and gospelly turnarounds prompted some flying playing from all concerned. Young had the hardest job of the evening, replacing Niels-Henning Ørsted Pedersen, who died shortly after the tour was announced. In tribute, Young’s solo version of the Danish folksong In the Still of the Woods was beautifully played, with a singing upper register and immaculate projection. What he lacked, however, was Pedersen’s ability to inject swing. Too much of the burden fell on Wakenius, who overcompensated, thereby killing the spirit of relaxation at speed which used to be such a feature of this band.
That said, the quartet played two full sets, there was an admirable balance of familiar hits and new material, and a heartfelt Requiem for Peterson’s contemporaries who are no longer with us. To see and hear this great survivor igniting more than the occasional spark of his youthful genius, six weeks short of his 80th birthday, was a highly emotional experience, and we were all back on our feet when it came time to bid him farewell.
EUR Web > PEOPLE OF NOTE: Kenny Barron … Saluting the Music Masters At The Rose Theatre
PEOPLE OF NOTE: Kenny Barron … Saluting the Music Masters At The Rose Theatre
By Deardra Shuler
July 5, 2005
Kenny Baron
A resounding roll of thunder clashed like cymbals against the dark gray sky as I spoke with pianist, Kenny Barron, about his upcoming Piano Masters Salute to Piano Legends, sponsored by the JVC Jazz Festival and Jazz Forum Arts. The Salute held at the Rose Theater within Frederick P. Rose Hall, housed within Jazz at Lincoln Center, is located at 60th Street and Broadway. The event is a tribute to the music of Duke Ellington, Herbie Hancock, Bill Evans and Thelonious Monk.
A resounding roll of thunder clashed like cymbals against the dark gray sky as I spoke with pianist, Kenny Barron, about his upcoming Piano Masters Salute to Piano Legends, sponsored by the JVC Jazz Festival and Jazz Forum Arts. The event is a tribute to the music of Duke Ellington, Herbie Hancock, Bill Evans and Thelonious Monk. “This will be my first time playing at the Rose Theater, although, I have played at Dizzy’s Club Coca-Cola,” stated Kenny. “However, for the Piano Masters Salute, I will be performing with pianists Geri Allen, Uri Caine and Randy Weston who are wonderful pianist. We will be performing and celebrating the music of Duke Ellington, Herbie Hancock, Bill Evans and Thelonious Monk. Some of the music will be solo, some duet and some with a rhythm section,” declared the world-renowned musician and composer.
Born in Philadelphia, Kenny Barron, who is recognized as one of the giants of modern mainstream piano, is the younger brother of the late saxophonist Bill Barron. “I listened to a lot of jazz in my youth and had my first gig when I was 14. I continued playing throughout high school and when I graduated, I moved to New York. That was in 1961. I started working with James Moody and then I worked with Roy Haynes. I also worked with Lee Morgan and Lou Donaldson. My older brother, Bill, who has now passed, played sax. He already knew these musicians and introduced me to many of them,” stated Barron. “However, it was it was James Moody who introduced me to Dizzy Gillespie. It was a fantastic experience working with Gillespie, who was a very generous man. Working with Dizzy was like going to school. He knew a lot and was very generous with his knowledge. I learned a lot from him,” claimed the seven-time Grammy nominee. Barron spent four years (1962-1966) playing and recording with Gillespie. “I started working with Freddie Hubbard after Dizzy. I worked with Freddie on and off for about 3 years. I worked with quite a few people, among them Stanley Turrentine and Yusef Lateef,” reminisced the talented pianist.
Barron also formed a relationship with Ron Carter's two-bass quartet. He performed with them from 1976-1980. Barron was a co-leader of the group Sphere in the 1980s, and went on to lead his own trios. Barron also worked with Stan Getz. “I worked with Stan Getz toward the end of his life, the last 4 or 5 years of his life in fact. Getz was a very lyrical player. We had that in common. I am lyrical myself so it was a big thrill for me to play with him. The very last time we played together we did a live duet performance in Copenhagen. The recording is called “People Time.” This was Stan Getz’s last recording before his death.
Married and the father of 2, Kenny likes to cook and read. He also teaches at Juilliard. Mr. Barron’s latest recording is entitled: “Images” which he recorded on Sunnyside and released in 2004.
Barron recently returned from a tour in Japan. “The Japanese are a great audience. Everything is usually first class with them and they are well versed in jazz. I always enjoy playing before the Japanese audience” stated Kenny. “I am in Europe a lot, too. I have been in Germany, Italy, and Spain and plan to go back to Rome in another two weeks. I have even been to Africa. That was great, too. The Africans love jazz and even recognize that it developed from their country. When I decided to visit Africa, I was playing a gig in Rome with Yusef Lateef at the time. We had a few days off so we decided to visit Tunis, Tunisia, in North Africa” explained the pianist. “It turned out we experienced a surprise while there. While walking down the street in Tunis, I heard someone call my name and when I turned around, I saw it was Percy Heath. Percy recently passed. But at that time, it turned out, there was a big jazz festival going on there in the ruins of Carthage. The Mighty Jazz Quartet was there, trumpeter Roy Eldridge was there and Dizzy Gillespie was there. So, I ended up attending the jazz festival. That was a truly wonderful experience and I had a great time” reflected Barron.
“In terms of my craft, I try to be better today than I was yesterday. So, I hope people will turn out to see me at the Rose Theatre for the Piano Masters Salute to Piano Legends, it’s sure to be a great show.”
Monday, July 04, 2005
940 NEWS > Jazz bassist Pierre Michelot dies at age 77; recorded with Miles Davis
940 NEWSJazz bassist Pierre Michelot dies at age 77; recorded with Miles Davis at 13:53 on July 4, 2005, EST.
PARIS (AP) - Jazz bassist Pierre Michelot, who recorded with Miles Davis and arranged music for Chet Baker, has died, a fellow musician said Monday. He was 77.
The bass player, who suffered from Alzheimer's disease, died in Paris on Sunday, said pianist Rene Urtreger, a member of Michelot's longtime jazz trio, HUM.
Michelot played with Davis on one of the great soundtracks of the 1950s, for Louis Malle's classic thriller Ascenseur pour L'Echafaud (Elevator to the Gallows). He recorded with artists including Stan Getz, Dizzy Gillespie, Bud Powell, Kenny Clarke and Django Reinhardt, and he arranged music for Baker's 1955-56 Barclay sessions in Paris.
Michelot was considered Europe's best jazz bassist in the second half of the 1950s, Urtreger said.
"He had a magnificent natural sound, clear, deep and true," Urtreger said. "It was a dream to play with him."
Originally trained in classical piano, Michelot learned bass as a teenager, then performed for American troops stationed in France after the end of the Second World War. He was highly sought-after for concerts by American musicians in Paris in the postwar years.
Michelot had a role in French director Bertrand Tavernier's 1986 film Round Midnight, about a musician on the skids in 1950s Paris.
PARIS (AP) - Jazz bassist Pierre Michelot, who recorded with Miles Davis and arranged music for Chet Baker, has died, a fellow musician said Monday. He was 77.
The bass player, who suffered from Alzheimer's disease, died in Paris on Sunday, said pianist Rene Urtreger, a member of Michelot's longtime jazz trio, HUM.
Michelot played with Davis on one of the great soundtracks of the 1950s, for Louis Malle's classic thriller Ascenseur pour L'Echafaud (Elevator to the Gallows). He recorded with artists including Stan Getz, Dizzy Gillespie, Bud Powell, Kenny Clarke and Django Reinhardt, and he arranged music for Baker's 1955-56 Barclay sessions in Paris.
Michelot was considered Europe's best jazz bassist in the second half of the 1950s, Urtreger said.
"He had a magnificent natural sound, clear, deep and true," Urtreger said. "It was a dream to play with him."
Originally trained in classical piano, Michelot learned bass as a teenager, then performed for American troops stationed in France after the end of the Second World War. He was highly sought-after for concerts by American musicians in Paris in the postwar years.
Michelot had a role in French director Bertrand Tavernier's 1986 film Round Midnight, about a musician on the skids in 1950s Paris.
Sunday, July 03, 2005
Blogcritics.org: The Dave Holland Quintet, Jazz Winnipeg Festival, Sat., June 25, 2005
Blogcritics.org: The Dave Holland Quintet, Jazz Winnipeg Festival, Sat., June 25, 2005 The Dave Holland Quintet, Jazz Winnipeg Festival, Sat., June 25, 2005
Posted by Triniman on July 03, 2005 01:43 AM (See all posts by Triniman)
Filed under: Music, Music: Jazz - Scroll down to read comments on this story and/or add one of your own.
That Dave Holland is among the most famous bass players in jazz is a well-known fact. Plucked from England at the age of 21 to join Miles Davis touring and recording bands, Holland has had an illustrious career, playing with just about everyone anyone up and coming bass player could hope to play with. Now, at the age of 59, Holland is getting press as having quite simply, the world's best touring jazz band. Hype, sure, but it's impossible to argue that his band is not among the cream of the crop.
Opening for Dave Holland was the sax player James Carter. The Detroit native, 36, was very smartly dressed and completely played the role of the charismatic, hot-shot musician. From from being a one-trick pony, Carter backed up his bravado by putting on an energetic, hyperactive performance, which is not something you normally associate with jazz. Backing him up were among the top players from Winnipeg - pianist Ron Paley, professors Steve Kirby on bass and Alvin Atkinson, Jr. on drums, with associate professor and well-known Winnipegger, Larry Roy on guitar. Carter switched occaisionally to soprano sax and flute, and was always effective.
Carter soaked up the spotlight and performed like the star that he is. He has seven albums out and his first album was heralded as the finest saxophone debut in decades. The bottom line with James Carter is that he is an exciting, first-rate talent who is worth seeing live. I haven't heard any of his recordings, but they do vary in style so one would have to be certain before making a purchase. Everyone in the band performed well, as would be expected of the talent invovled. Carter has won jazz poll awards as the top baritone sax player for three years running.
Dave Holland is at the top of his game. He can tour and record with anyone. His current band is composed of Robin Eubanks on trombone, Steve Nelson on vibes, Chris Potter on Alto/ Soprano saxophones and Nate Smith on drums. Eubanks is the brother of guitarist Kevin Eubanks, from TV's The Tonight Show, and is also an Assistant Professor. For six years, he was voted the top trombonist in Down Beat's International Critic's Poll. Nelson holds a Masters degree in music. Chris Potter, 34, has 6 CDs as leader and was briefly with Steely Dan.
What was most surprising about this show was trombonist Robin Eubanks. I was surpised to not see a trumpet player to compliment Chris Potter, but I was amazed at what a player Eubanks turned out to be. If you have any doubts about how mesmering and intense a jazz trombonist can be, just check out this guy in concert. Time and time again, he did for the trombone what other musicians do with their equipment - grab and hold your attention. He wasn't overshadowed by anyone.
Chris Potter has also made a name for himself among jazz aficionados and delivered the goods in spades. Once again, Winnipeg audiences were exposed to another of the most celebrated youngish sax players in the world. He could easily tour full time with his own band if he ever gets tired of being a sideplayer with Dave Holland.
Steve Nelson was a treat to watch. It's simply amazing to watch him pick out notes with seemingly no effort. It's not too often that you see a vibes player and while he wasn't the centre of attention as much as the other players, he added all the right colors, at the right moments, to make the show just that much richer.
Steve Nelson, Robin Eubanks, Dave Holland, Chris Potter and Billy Kilson
Dave Holland was obviously very pleased with the performance, due to all the smiles he was giving. He performed like Nelson, making his job look effortless but at the same time, he showed that he was a solid part of the band's foundation. The stand up bass is not just for show or to remain a humble part of the background when Holland in on board. He played and soloes with complete authority and confidence and, like all the other players in his band, won generous applause.
Nate Smith held the fort down and won more applause than anyone at the final curtain call. I thought it was tough for anyone else to really outshine the performances of Holland, Eubanks and Potter. Here's hoping these players return to Winnipeg, either with Dave Holland or with their own bands.
Posted by Triniman on July 03, 2005 01:43 AM (See all posts by Triniman)
Filed under: Music, Music: Jazz - Scroll down to read comments on this story and/or add one of your own.
That Dave Holland is among the most famous bass players in jazz is a well-known fact. Plucked from England at the age of 21 to join Miles Davis touring and recording bands, Holland has had an illustrious career, playing with just about everyone anyone up and coming bass player could hope to play with. Now, at the age of 59, Holland is getting press as having quite simply, the world's best touring jazz band. Hype, sure, but it's impossible to argue that his band is not among the cream of the crop.
Opening for Dave Holland was the sax player James Carter. The Detroit native, 36, was very smartly dressed and completely played the role of the charismatic, hot-shot musician. From from being a one-trick pony, Carter backed up his bravado by putting on an energetic, hyperactive performance, which is not something you normally associate with jazz. Backing him up were among the top players from Winnipeg - pianist Ron Paley, professors Steve Kirby on bass and Alvin Atkinson, Jr. on drums, with associate professor and well-known Winnipegger, Larry Roy on guitar. Carter switched occaisionally to soprano sax and flute, and was always effective.
Carter soaked up the spotlight and performed like the star that he is. He has seven albums out and his first album was heralded as the finest saxophone debut in decades. The bottom line with James Carter is that he is an exciting, first-rate talent who is worth seeing live. I haven't heard any of his recordings, but they do vary in style so one would have to be certain before making a purchase. Everyone in the band performed well, as would be expected of the talent invovled. Carter has won jazz poll awards as the top baritone sax player for three years running.
Dave Holland is at the top of his game. He can tour and record with anyone. His current band is composed of Robin Eubanks on trombone, Steve Nelson on vibes, Chris Potter on Alto/ Soprano saxophones and Nate Smith on drums. Eubanks is the brother of guitarist Kevin Eubanks, from TV's The Tonight Show, and is also an Assistant Professor. For six years, he was voted the top trombonist in Down Beat's International Critic's Poll. Nelson holds a Masters degree in music. Chris Potter, 34, has 6 CDs as leader and was briefly with Steely Dan.
What was most surprising about this show was trombonist Robin Eubanks. I was surpised to not see a trumpet player to compliment Chris Potter, but I was amazed at what a player Eubanks turned out to be. If you have any doubts about how mesmering and intense a jazz trombonist can be, just check out this guy in concert. Time and time again, he did for the trombone what other musicians do with their equipment - grab and hold your attention. He wasn't overshadowed by anyone.
Chris Potter has also made a name for himself among jazz aficionados and delivered the goods in spades. Once again, Winnipeg audiences were exposed to another of the most celebrated youngish sax players in the world. He could easily tour full time with his own band if he ever gets tired of being a sideplayer with Dave Holland.
Steve Nelson was a treat to watch. It's simply amazing to watch him pick out notes with seemingly no effort. It's not too often that you see a vibes player and while he wasn't the centre of attention as much as the other players, he added all the right colors, at the right moments, to make the show just that much richer.
Steve Nelson, Robin Eubanks, Dave Holland, Chris Potter and Billy Kilson
Dave Holland was obviously very pleased with the performance, due to all the smiles he was giving. He performed like Nelson, making his job look effortless but at the same time, he showed that he was a solid part of the band's foundation. The stand up bass is not just for show or to remain a humble part of the background when Holland in on board. He played and soloes with complete authority and confidence and, like all the other players in his band, won generous applause.
Nate Smith held the fort down and won more applause than anyone at the final curtain call. I thought it was tough for anyone else to really outshine the performances of Holland, Eubanks and Potter. Here's hoping these players return to Winnipeg, either with Dave Holland or with their own bands.
All Rise by Wynton Marsalis :: eJazzNews.com : The Number One Jazz News Resource On The Net :: Jazz News Daily
All Rise by Wynton Marsalis :: eJazzNews.com : The Number One Jazz News Resource On The Net :: Jazz News Daily All Rise by Wynton Marsalis
Posted by: editoron Sunday, July 03, 2005 - 08:32 AM
Jazz News Royal Albert Hall Sunday | 2 October 2005 | 7.30pm
London Philharmonic Orchestra Lincoln Center Jazz Orchestra London Adventist Chorale
with Wynton Marsalis Kurt Masur conductor
Commissioned by Kurt Masur and the New York Philharmonic Orchestra in 1999, All Rise is an extraordinary, epic work on the scale of Marsalis's 1997 Pulizer Prize-winning oratorio Blood on the Fields. Unanimously hailed as a masterpiece by the critics, the work is a slice from the rock-face of musical culture; mirroring the career of Wynton Marsalis, an eclectic musician in every sense - scored for a symphony orchestra, a jazz orchestra, a chorus and a gospel choir. Hugely influenced by jazz and the blues, All Rise encomplasses a plethora of musical styles from the fugue to the fiddler's reel; from the didgeridoo to ancient Greece; and from Eastern scales to 'plain old down-home ditties'. In the words of Marsalis himself, 'I don't try to combine many different styles in a 'world music' type of melange, I only try to hear that they are the same.'
In the first performances of All Rise in the UK, Kurt Masur will lead Wynton Marsalis, the London Philharmonic Orchestra, the Lincoln Center Jazz Orchestra and the London Adventist Chorale in performances in Birmingham, Cardiff, London, Manchester and Glasgow in what will be one of the highlights of the UK's musical year.
TICKETS: £10 - £50
To book tickets for All Rise at the Royal Albert Hall contact:
London Philharmonic Orchestra Box Office 020 7840 4242 (Mon-Fri 10am-5pm) www.lpo.org.uk (no booking fee)
Royal Albert Hall Box Office 020 7589 8212 (Daily 9am-9pm) www.royalalberthall.com (telephone/website booking fee applies per transaction)
Posted by: editoron Sunday, July 03, 2005 - 08:32 AM
Jazz News Royal Albert Hall Sunday | 2 October 2005 | 7.30pm
London Philharmonic Orchestra Lincoln Center Jazz Orchestra London Adventist Chorale
with Wynton Marsalis Kurt Masur conductor
Commissioned by Kurt Masur and the New York Philharmonic Orchestra in 1999, All Rise is an extraordinary, epic work on the scale of Marsalis's 1997 Pulizer Prize-winning oratorio Blood on the Fields. Unanimously hailed as a masterpiece by the critics, the work is a slice from the rock-face of musical culture; mirroring the career of Wynton Marsalis, an eclectic musician in every sense - scored for a symphony orchestra, a jazz orchestra, a chorus and a gospel choir. Hugely influenced by jazz and the blues, All Rise encomplasses a plethora of musical styles from the fugue to the fiddler's reel; from the didgeridoo to ancient Greece; and from Eastern scales to 'plain old down-home ditties'. In the words of Marsalis himself, 'I don't try to combine many different styles in a 'world music' type of melange, I only try to hear that they are the same.'
In the first performances of All Rise in the UK, Kurt Masur will lead Wynton Marsalis, the London Philharmonic Orchestra, the Lincoln Center Jazz Orchestra and the London Adventist Chorale in performances in Birmingham, Cardiff, London, Manchester and Glasgow in what will be one of the highlights of the UK's musical year.
TICKETS: £10 - £50
To book tickets for All Rise at the Royal Albert Hall contact:
London Philharmonic Orchestra Box Office 020 7840 4242 (Mon-Fri 10am-5pm) www.lpo.org.uk (no booking fee)
Royal Albert Hall Box Office 020 7589 8212 (Daily 9am-9pm) www.royalalberthall.com (telephone/website booking fee applies per transaction)
Japan Today - News - Soul star Luther Vandross dead at 54 - Japan's Leading International News Network
Japan Today - News - Soul star Luther Vandross dead at 54 - Japan's Leading International News Network Monday, July 4, 2005
Soul star Luther Vandross dead at 54
Sunday, July 3, 2005 at 07:11 JST
NEW YORK — Legendary American soul singer Luther Vandross died at the age of 54, two years after suffering a devastating stroke that left him debilitated for the rest of his life, a hospital spokesman said Friday.
The Grammy Award-winning musical star died at the John F Kennedy Medical Center in Edison, in New Jersey.
"At 1:47 p.m. at the JFK Medical Center, Luther Vandross had a peaceful passing under the watchful eyes of friends, family and his medical support team," said hospital spokesman Robert Cavanaugh.
"Luther Vandross suffered a stroke two years ago which he never fully recovered from. "Luther was deeply touched by all the thoughts and wishes from his fans," Cavanaugh said.
Vandross stopped making public appearances following his stroke in his New York apartment, but managed to keep recording, winning four Grammys in 2004 including best song for his wrenching "Dance With My Father."
The artist dominated the rhythm and blues world for more than 20 years, his 14 albums selling more than 25 million records and winning a total of eight Grammy awards in the latter part of his three-decade career.
Born Luther Ronzoni Vandross on April 20, 1951 in New York to a family with a strong tradition of gospel and soul singing, the young Vandross grew up listening to the music of Aretha Franklin, Diana Ross and Dionne Warwick.
While at school, the young musician formed a group and performed at the legendary Apollo Theater in New York.
He got his first major career break in 1972 when his song "Everybody Rejoice (A Brand New Day)" was chosen to feature in Broadway musical "The Wiz."
In 1974, a pal invited him to join a recording session for British musical star David Bowie's "Young Americans" album during which he caught the eye of Bowie, who asked him to arrange the vocals and sing many of the backing tracks.
He later toured with Bowie and then with U.S. diva Bette Midler, becoming one of the music industry's top session musicians and oval arrangers, but remaining largely unknown to the public.
In 1975, he formed his own group — Luther — and made two albums which did not fare well.
Until the 1980s Vandross, supported himself primarily by making television advertising jingles, but his recording work for music mogul Quincy Jones as well as Sister Sledge maintained his profile in the industry.
His debut solo album "Never Too Much" was released in 1981 by Epic Records, setting Vandross on course for a decade of chart-topping albums and singles that made him a global star. (Wire reports)
Soul star Luther Vandross dead at 54
Sunday, July 3, 2005 at 07:11 JST
NEW YORK — Legendary American soul singer Luther Vandross died at the age of 54, two years after suffering a devastating stroke that left him debilitated for the rest of his life, a hospital spokesman said Friday.
The Grammy Award-winning musical star died at the John F Kennedy Medical Center in Edison, in New Jersey.
"At 1:47 p.m. at the JFK Medical Center, Luther Vandross had a peaceful passing under the watchful eyes of friends, family and his medical support team," said hospital spokesman Robert Cavanaugh.
"Luther Vandross suffered a stroke two years ago which he never fully recovered from. "Luther was deeply touched by all the thoughts and wishes from his fans," Cavanaugh said.
Vandross stopped making public appearances following his stroke in his New York apartment, but managed to keep recording, winning four Grammys in 2004 including best song for his wrenching "Dance With My Father."
The artist dominated the rhythm and blues world for more than 20 years, his 14 albums selling more than 25 million records and winning a total of eight Grammy awards in the latter part of his three-decade career.
Born Luther Ronzoni Vandross on April 20, 1951 in New York to a family with a strong tradition of gospel and soul singing, the young Vandross grew up listening to the music of Aretha Franklin, Diana Ross and Dionne Warwick.
While at school, the young musician formed a group and performed at the legendary Apollo Theater in New York.
He got his first major career break in 1972 when his song "Everybody Rejoice (A Brand New Day)" was chosen to feature in Broadway musical "The Wiz."
In 1974, a pal invited him to join a recording session for British musical star David Bowie's "Young Americans" album during which he caught the eye of Bowie, who asked him to arrange the vocals and sing many of the backing tracks.
He later toured with Bowie and then with U.S. diva Bette Midler, becoming one of the music industry's top session musicians and oval arrangers, but remaining largely unknown to the public.
In 1975, he formed his own group — Luther — and made two albums which did not fare well.
Until the 1980s Vandross, supported himself primarily by making television advertising jingles, but his recording work for music mogul Quincy Jones as well as Sister Sledge maintained his profile in the industry.
His debut solo album "Never Too Much" was released in 1981 by Epic Records, setting Vandross on course for a decade of chart-topping albums and singles that made him a global star. (Wire reports)
Saturday, July 02, 2005
Musicians Forced Into Fakery - New York Times
Musicians Forced Into Fakery - New York TimesJuly 2, 2005
Musicians Forced Into Fakery
By ANTHONY TOMMASINI
It was supposed to be a breakout moment in the history of the New York Pops and its music director, Skitch Henderson. On Monday night, on seven barges along the East River, Macy's will present what it is calling the largest Fourth of July fireworks display in America. It will be precisely coordinated to a soundtrack performed by the New York Pops, a 30-minute medley of American music. And the whole show will be televised nationwide on NBC.
This is just the kind of exposure the New York Pops, which Mr. Henderson founded in 1983, has longed for. Over the years, with outdoor concerts from the Charles River Esplanade, the hugely successful Boston Pops has been America's orchestra of note for Fourth of July festivities. (CBS will carry its concert live at 10 p.m. on Monday.)
But officials at the New York Pops may now be thinking, "Be careful what you wish for." Viewers who look closely at the NBC broadcast on Monday night at 9 may notice something strange. If the musicians of the New York Pops look a little sheepish and seem less than fully engaged, it's because they will be shown doing the instrumental equivalent of lip-synching. Officials from the orchestra call it "synchronizing."
The musicians recorded the soundtrack in a studio last week. The video images of the orchestra pretending to perform were taped during a free concert - or what was supposed to be a free concert - that the Pops presented on Wednesday night at Bryant Park. For some 45 minutes, the audience in the park watched an NBC camera crew film the fake performance as the recorded soundtrack was played over loudspeakers, a process that necessitated stopping and starting many times.
The audience had been expecting to hear a live concert. Given the distractions of the videotaping as well as the rainy weather, the intrepid music lovers who showed up were remarkably tolerant.
Although weather reports had predicted thunderstorms, by concert time the precipitation had slackened to showers. The orchestra was under multiple pressures to go ahead with the performance.
Besides being a free concert for the public, the event was a benefit for the Pops. About 175 people had purchased boxed dinners at $250 each, and almost half of them showed up, determined to enjoy themselves despite having to slice their chicken with one hand while holding an umbrella with the other. In good weather the free concerts by the New York Pops in Bryant Park can attract up to 10,000 people. Here there were a few hundred, at best. No one was allowed to sit on the lawn, which was soggy with rain. Still, determined patrons, wearing all manner of rain gear, sat in folding chairs that encircled the Bryant Park green.
The other pressure came from the need to videotape the fake performance for NBC. When the Pops agreed to provide the soundtrack for the fireworks display, its managers did not realize that the musicians would not be shown giving an actual performance, James M. Johnson, the orchestra's executive director, said during a break in the concert. But having signed on to the project, the orchestra complied with the producers' insistence that the fireworks display be matched to a recorded soundtrack.
In the original plans, the synchronized performance was to be videotaped on Wednesday afternoon, so that in the evening the orchestra could simply perform the medley for the audience. But because of heavy afternoon showers, the television crew had to use concert time for the taping.
The program, part of the Summermusic series, began well enough, given the rain and humidity. Mr. Henderson, still a lively presence on the podium at 87, led accounts of Glière's "Russian Sailor's Dance" and works by Jerónimo Giméniz and Debussy, followed by selections from Handel's "Water Music," which seemed all too appropriate. The audience was palpably appreciative.
The orchestra used an Electro-Voice amplification system, which certainly gave the music resonance: the decaying sound of fortissimo final chords lingered for four seconds by my watch. The acoustics may not be natural, but you could not complain that the Pops was hard to hear.
Then came time for the taping. Midge Woolsey of WQXR, the host for the evening, explained what was about to happen and admitted that the orchestra would be going through the motions of playing as we listened to the recorded soundtrack. She warned that the players would have to stop and restart often. But she urged everyone to get involved, to shout and cheer at the end of each piece and show its enthusiasm for the benefit of the cameras.
Such is the allure of television in the age of reality shows that most people stuck around and willingly played their parts. Sometimes it was hard to fathom exactly what was going on. Fathers bounced their children on their knees to the rhythms of a George M. Cohan tune or John Williams's "Olympic Fanfare," and you wondered whether they were really enjoying themselves or mugging for the cameras, or whether they could not really tell the difference between the live selections and the faked ones, since both were amplified.
During the beloved standard "Over the Rainbow," the orchestra's concertmaster, Erica Kiesewetter, played a prominent violin solo. Not live, of course; she was just pretending. This is not the kind of turn you can imagine your career path taking when you are a young, idealistic violin student.
The medley ended with "God Bless America," with the orchestra joined by the New York Pops Festival Chorus - which had also recorded its parts.
Once the videotaping was completed, the Pops gave the patient audience a well-deserved reward, performing a medley from "West Side Story." By this point the rain had stopped. Even hearing the selections through loudspeakers, the audience, not to mention the players, seemed relieved to be experiencing music performed live.
Asked afterward whether the New York Pops would again agree to record a soundtrack for a Fourth of July fireworks display if it involved faking a performance for television, Mr. Johnson said, "Ask me again in two weeks."
Musicians Forced Into Fakery
By ANTHONY TOMMASINI
It was supposed to be a breakout moment in the history of the New York Pops and its music director, Skitch Henderson. On Monday night, on seven barges along the East River, Macy's will present what it is calling the largest Fourth of July fireworks display in America. It will be precisely coordinated to a soundtrack performed by the New York Pops, a 30-minute medley of American music. And the whole show will be televised nationwide on NBC.
This is just the kind of exposure the New York Pops, which Mr. Henderson founded in 1983, has longed for. Over the years, with outdoor concerts from the Charles River Esplanade, the hugely successful Boston Pops has been America's orchestra of note for Fourth of July festivities. (CBS will carry its concert live at 10 p.m. on Monday.)
But officials at the New York Pops may now be thinking, "Be careful what you wish for." Viewers who look closely at the NBC broadcast on Monday night at 9 may notice something strange. If the musicians of the New York Pops look a little sheepish and seem less than fully engaged, it's because they will be shown doing the instrumental equivalent of lip-synching. Officials from the orchestra call it "synchronizing."
The musicians recorded the soundtrack in a studio last week. The video images of the orchestra pretending to perform were taped during a free concert - or what was supposed to be a free concert - that the Pops presented on Wednesday night at Bryant Park. For some 45 minutes, the audience in the park watched an NBC camera crew film the fake performance as the recorded soundtrack was played over loudspeakers, a process that necessitated stopping and starting many times.
The audience had been expecting to hear a live concert. Given the distractions of the videotaping as well as the rainy weather, the intrepid music lovers who showed up were remarkably tolerant.
Although weather reports had predicted thunderstorms, by concert time the precipitation had slackened to showers. The orchestra was under multiple pressures to go ahead with the performance.
Besides being a free concert for the public, the event was a benefit for the Pops. About 175 people had purchased boxed dinners at $250 each, and almost half of them showed up, determined to enjoy themselves despite having to slice their chicken with one hand while holding an umbrella with the other. In good weather the free concerts by the New York Pops in Bryant Park can attract up to 10,000 people. Here there were a few hundred, at best. No one was allowed to sit on the lawn, which was soggy with rain. Still, determined patrons, wearing all manner of rain gear, sat in folding chairs that encircled the Bryant Park green.
The other pressure came from the need to videotape the fake performance for NBC. When the Pops agreed to provide the soundtrack for the fireworks display, its managers did not realize that the musicians would not be shown giving an actual performance, James M. Johnson, the orchestra's executive director, said during a break in the concert. But having signed on to the project, the orchestra complied with the producers' insistence that the fireworks display be matched to a recorded soundtrack.
In the original plans, the synchronized performance was to be videotaped on Wednesday afternoon, so that in the evening the orchestra could simply perform the medley for the audience. But because of heavy afternoon showers, the television crew had to use concert time for the taping.
The program, part of the Summermusic series, began well enough, given the rain and humidity. Mr. Henderson, still a lively presence on the podium at 87, led accounts of Glière's "Russian Sailor's Dance" and works by Jerónimo Giméniz and Debussy, followed by selections from Handel's "Water Music," which seemed all too appropriate. The audience was palpably appreciative.
The orchestra used an Electro-Voice amplification system, which certainly gave the music resonance: the decaying sound of fortissimo final chords lingered for four seconds by my watch. The acoustics may not be natural, but you could not complain that the Pops was hard to hear.
Then came time for the taping. Midge Woolsey of WQXR, the host for the evening, explained what was about to happen and admitted that the orchestra would be going through the motions of playing as we listened to the recorded soundtrack. She warned that the players would have to stop and restart often. But she urged everyone to get involved, to shout and cheer at the end of each piece and show its enthusiasm for the benefit of the cameras.
Such is the allure of television in the age of reality shows that most people stuck around and willingly played their parts. Sometimes it was hard to fathom exactly what was going on. Fathers bounced their children on their knees to the rhythms of a George M. Cohan tune or John Williams's "Olympic Fanfare," and you wondered whether they were really enjoying themselves or mugging for the cameras, or whether they could not really tell the difference between the live selections and the faked ones, since both were amplified.
During the beloved standard "Over the Rainbow," the orchestra's concertmaster, Erica Kiesewetter, played a prominent violin solo. Not live, of course; she was just pretending. This is not the kind of turn you can imagine your career path taking when you are a young, idealistic violin student.
The medley ended with "God Bless America," with the orchestra joined by the New York Pops Festival Chorus - which had also recorded its parts.
Once the videotaping was completed, the Pops gave the patient audience a well-deserved reward, performing a medley from "West Side Story." By this point the rain had stopped. Even hearing the selections through loudspeakers, the audience, not to mention the players, seemed relieved to be experiencing music performed live.
Asked afterward whether the New York Pops would again agree to record a soundtrack for a Fourth of July fireworks display if it involved faking a performance for television, Mr. Johnson said, "Ask me again in two weeks."
Friday, July 01, 2005
Struggling to Keep the Band and Legend of Sun Ra Alive - New York Times
Struggling to Keep the Band and Legend of Sun Ra Alive - New York Times
June 30, 2005
Struggling to Keep the Band and Legend of Sun Ra Alive
By COREY KILGANNON
PHILADELPHIA - In the Germantown neighborhood, an 81-year-old bandleader and alto saxophonist is struggling to maintain a crumbling town house and a legendary big band.
The bandleader, Marshall Allen, lives in a three-story row house on Morton Avenue that since 1968 has been the headquarters of the Sun Ra Arkestra, the avant-garde big band that the keyboardist and free-jazz pioneer Sun Ra formed a half-century ago. Sun Ra died in 1993 at 79, and now Mr. Allen leads the group.
One recent evening at the Sun Ra house, an elderly man with a guitar case was dozing on the porch. Mr. Allen opened the door and shooed him away.
"We still get cats coming by here like it's the old days," said Mr. Allen, who had been spackling the bathroom ceiling. "I can't run the place like that no more. It was different when Sun Ra was alive. He could take in all these nutty musicians and bring out the good in them, but I ain't that talented."
In those old days, the band lived communally in the house, where Sun Ra wrote songs and arrangements and rehearsed and recorded the band, often around the clock.
Now it is quieter and emptier, home only to Mr. Allen and three other band members. The Arkestra is still together; some members have been with it since the 1950's and 60's. After some lean times when it was in danger of folding, the band has rebounded in recent years. It played some 30 dates last year, including gigs in Europe, Brazil, a Buddhist temple in Tuva and the Manhattan nightclub Iridium.
Mr. Allen toured for two weeks with the bassist Henry Grimes this year, and is about to return to Tuva with a small group and to perform with the Arkestra in Austria and France in early July. But he complains that the concerts do not pay enough to keep the entire band together like an extended family, the way Sun Ra did. Mr. Allen often has trouble scraping together a full ensemble (anywhere from 13 to 19 pieces) even for weekly rehearsals and must call upon Arkestra alumni to fill spots.
"We have a nucleus that still rehearses and lives together here," he said, standing in the ground-floor rehearsal room where Sun Ra held marathon rehearsals. "We play several days a week. Not every day like when Sun Ra was alive, but whoever's here, we rehearse."
Sun Ra required the band members in the house to follow a disciplined regimen based on his musical and philosophical concepts, which Mr. Allen and the others still follow. Mr. Allen writes daily for the Arkestra, composing new music and rearranging Sun Ra's.
"I'm juggling too many things just keeping the place together," said Mr. Allen, who took over as band director after the 1995 death of the tenor saxophonist John Gilmore, another longtime member of the Arkestra.
The old house is a museum dedicated to Sun Ra, filled with his music, possessions and other memorabilia, and Mr. Allen often books engagements just to maintain it and pay the taxes and bills. In all, the Arkestra has released more than 100 self-produced records, Mr. Allen said, as well as several albums on established labels. But the meager royalties go to Sun Ra's family and former business partners, not the current band.
"We get no royalties," he said. "I got no money. I'm sitting on zero. If we had more bookings, the band would be stronger. Then we could rehearse steady and play numbers we ain't never played. You got to have money to run a band. Bills have to be paid. I can't even pay a musician's carfare to get down here."
The band still plays music that alternates between straight-ahead swing arrangements and squealing solos. The concerts still feature free-form dancers, light shows and musicians in outlandish costumes marching through the audience while chanting and singing. Band members often use megaphones to sing songs with the cosmic themes that were the trademark of Sun Ra, who claimed to be from Saturn and described his concepts with outer-space imagery.
He spoke of making music sublime enough to elevate humanity beyond Earth, to transcend reality. He spoke of a world in which people traveled in cars and rocket ships powered by music alone.
The Arkestra never was as popular as jazz's best-known big bands, but it did have a steady following and was highly regarded in jazz circles. It appeared on "Saturday Night Live" in 1978, played a Central Park concert with Sonic Youth in 1992, and was named best big band in Down Beat magazine's critics poll five times between 1985 and 1992.
In 1968, Sun Ra moved the band from the Lower East Side of Manhattan to a house in Philadelphia that Mr. Allen's family owned but gave to him for the band's headquarters. It still belongs to the Sun Ra estate.
Mr. Allen was interviewed in a third-floor room where several of Sun Ra's old electronic keyboards leaned sideways in a jumble in the corner. In another corner was a tall wardrobe cabinet containing hundreds of Sun Ra's original music scores, much of them never recorded.
"I got 40 years worth of his music here, him writing songs every day," said Mr. Allen, who was watching a sports show on television and was intermittently using an electronic keyboard to work on his own compositions, which are decidedly Sun Ra-influenced. "I was there when he wrote most of his stuff. I seen him write everything since 1958."
That was the year Mr. Allen joined the Arkestra. He grew up admiring the styles of swing-era saxophonists like Johnny Hodges, Don Byas, Willie Smith and Earle Warren but eventually developed an avant-garde style, mastering overblowing techniques, false fingerings, note manipulations and extreme registers. He frequently solos on alternate instruments, including a gadget called an E.V.I., or electronic valve instrument.
The room was adorned with Egyptian and African art, psychedelic paintings and tributes to Sun Ra. His walking stick was mounted on the wall. The room was cluttered with kitchen items, instruments and tools for fixing them. The books on the shelves were mostly on mystical subjects, outer space and ancient Egypt. Outside in the hallway hung a sign containing an Arkestra credo, "Play what you don't know" - the reverse of a popular musical axiom.
There were dried roses from the funerals of both Sun Ra and John Gilmore.
"I'm just doing what I can to keep the music going," Mr. Allen said. "I'm not Sun Ra. It's still his band, but I'm carrying it on."
Then one of his housemates, the tenor saxophonist YahYa Abdul Majid, came into the room and said to Mr. Allen: "Let me borrow $5. I'll pay you tomorrow."
Mr. Allen laughed and reached into his pocket. "Oh man," he said, "you know it's the poorhouse up here."
June 30, 2005
Struggling to Keep the Band and Legend of Sun Ra Alive
By COREY KILGANNON
PHILADELPHIA - In the Germantown neighborhood, an 81-year-old bandleader and alto saxophonist is struggling to maintain a crumbling town house and a legendary big band.
The bandleader, Marshall Allen, lives in a three-story row house on Morton Avenue that since 1968 has been the headquarters of the Sun Ra Arkestra, the avant-garde big band that the keyboardist and free-jazz pioneer Sun Ra formed a half-century ago. Sun Ra died in 1993 at 79, and now Mr. Allen leads the group.
One recent evening at the Sun Ra house, an elderly man with a guitar case was dozing on the porch. Mr. Allen opened the door and shooed him away.
"We still get cats coming by here like it's the old days," said Mr. Allen, who had been spackling the bathroom ceiling. "I can't run the place like that no more. It was different when Sun Ra was alive. He could take in all these nutty musicians and bring out the good in them, but I ain't that talented."
In those old days, the band lived communally in the house, where Sun Ra wrote songs and arrangements and rehearsed and recorded the band, often around the clock.
Now it is quieter and emptier, home only to Mr. Allen and three other band members. The Arkestra is still together; some members have been with it since the 1950's and 60's. After some lean times when it was in danger of folding, the band has rebounded in recent years. It played some 30 dates last year, including gigs in Europe, Brazil, a Buddhist temple in Tuva and the Manhattan nightclub Iridium.
Mr. Allen toured for two weeks with the bassist Henry Grimes this year, and is about to return to Tuva with a small group and to perform with the Arkestra in Austria and France in early July. But he complains that the concerts do not pay enough to keep the entire band together like an extended family, the way Sun Ra did. Mr. Allen often has trouble scraping together a full ensemble (anywhere from 13 to 19 pieces) even for weekly rehearsals and must call upon Arkestra alumni to fill spots.
"We have a nucleus that still rehearses and lives together here," he said, standing in the ground-floor rehearsal room where Sun Ra held marathon rehearsals. "We play several days a week. Not every day like when Sun Ra was alive, but whoever's here, we rehearse."
Sun Ra required the band members in the house to follow a disciplined regimen based on his musical and philosophical concepts, which Mr. Allen and the others still follow. Mr. Allen writes daily for the Arkestra, composing new music and rearranging Sun Ra's.
"I'm juggling too many things just keeping the place together," said Mr. Allen, who took over as band director after the 1995 death of the tenor saxophonist John Gilmore, another longtime member of the Arkestra.
The old house is a museum dedicated to Sun Ra, filled with his music, possessions and other memorabilia, and Mr. Allen often books engagements just to maintain it and pay the taxes and bills. In all, the Arkestra has released more than 100 self-produced records, Mr. Allen said, as well as several albums on established labels. But the meager royalties go to Sun Ra's family and former business partners, not the current band.
"We get no royalties," he said. "I got no money. I'm sitting on zero. If we had more bookings, the band would be stronger. Then we could rehearse steady and play numbers we ain't never played. You got to have money to run a band. Bills have to be paid. I can't even pay a musician's carfare to get down here."
The band still plays music that alternates between straight-ahead swing arrangements and squealing solos. The concerts still feature free-form dancers, light shows and musicians in outlandish costumes marching through the audience while chanting and singing. Band members often use megaphones to sing songs with the cosmic themes that were the trademark of Sun Ra, who claimed to be from Saturn and described his concepts with outer-space imagery.
He spoke of making music sublime enough to elevate humanity beyond Earth, to transcend reality. He spoke of a world in which people traveled in cars and rocket ships powered by music alone.
The Arkestra never was as popular as jazz's best-known big bands, but it did have a steady following and was highly regarded in jazz circles. It appeared on "Saturday Night Live" in 1978, played a Central Park concert with Sonic Youth in 1992, and was named best big band in Down Beat magazine's critics poll five times between 1985 and 1992.
In 1968, Sun Ra moved the band from the Lower East Side of Manhattan to a house in Philadelphia that Mr. Allen's family owned but gave to him for the band's headquarters. It still belongs to the Sun Ra estate.
Mr. Allen was interviewed in a third-floor room where several of Sun Ra's old electronic keyboards leaned sideways in a jumble in the corner. In another corner was a tall wardrobe cabinet containing hundreds of Sun Ra's original music scores, much of them never recorded.
"I got 40 years worth of his music here, him writing songs every day," said Mr. Allen, who was watching a sports show on television and was intermittently using an electronic keyboard to work on his own compositions, which are decidedly Sun Ra-influenced. "I was there when he wrote most of his stuff. I seen him write everything since 1958."
That was the year Mr. Allen joined the Arkestra. He grew up admiring the styles of swing-era saxophonists like Johnny Hodges, Don Byas, Willie Smith and Earle Warren but eventually developed an avant-garde style, mastering overblowing techniques, false fingerings, note manipulations and extreme registers. He frequently solos on alternate instruments, including a gadget called an E.V.I., or electronic valve instrument.
The room was adorned with Egyptian and African art, psychedelic paintings and tributes to Sun Ra. His walking stick was mounted on the wall. The room was cluttered with kitchen items, instruments and tools for fixing them. The books on the shelves were mostly on mystical subjects, outer space and ancient Egypt. Outside in the hallway hung a sign containing an Arkestra credo, "Play what you don't know" - the reverse of a popular musical axiom.
There were dried roses from the funerals of both Sun Ra and John Gilmore.
"I'm just doing what I can to keep the music going," Mr. Allen said. "I'm not Sun Ra. It's still his band, but I'm carrying it on."
Then one of his housemates, the tenor saxophonist YahYa Abdul Majid, came into the room and said to Mr. Allen: "Let me borrow $5. I'll pay you tomorrow."
Mr. Allen laughed and reached into his pocket. "Oh man," he said, "you know it's the poorhouse up here."
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