Jazz and Bossa Radio

Jazz and Bossa Radio
Jazz and Bossa Radio

miércoles, 21 de marzo de 2018



Rising artists and university big bands featured every Monday night
in celebration of National Jazz Appreciation Month

The annual Monk Festival returns with Helen Sung and special guests Catherine Russell, Michaela Marino Lerman, and Dr. Eddie Henderson

Christian McBride returns for two-week run

New York, NY (March 21, 2017) – In celebration of National Jazz Appreciation Month, Dizzy’s Club Coca-Cola showcases rising stars and veteran artists in the jazz world, celebrating the extraordinary heritage and history of jazz throughout April. The Monday lineups feature university big bands and rising stars coupled with heavy hitters of the jazz world – Brubeck Institute Jazz Quintet with drummer Carl Allen (April 2); Manhattan School of Music Jazz Orchestra with saxophonist Joe Lovano (April 9); Emmet Cohen Trio with drummer Albert “Tootie” Heath (April 16); Purchase Jazz Orchestra with organist Mike LeDonneunder the direction of trumpeter Jon Faddis (April 23); and Temple University Big Band with vocalist Ann Hampton Callaway under the direction of trumpeter Terell Stafford (April 30).
April marks the return of the annual Monk Festival (April 5-8), with the sounds of Thelonious Monk filling Frederick P. Rose Hall in all its performance venues. Jazz pianist and composer Helen Sung will lead the three-night celebration in Dizzy’s Club Coca-Cola. Each night will feature a unique program, starting with Monk/Sung: Helen Sung Quartet with special guest Catherine Russell(April 6); Monk on Tap (April 7) featuring the “Monk Mob” with special guest tap dancer Michela Marino Lerman; and Monk: High Priest of BeBop (April 8) featuring the Helen Sung Quartet with special guest Dr. Eddie Henderson.
Christian McBride also returns for two weeks with New Jawn featuring Josh Evans, Marcus Strickland and Nasheet Waits (April 10-15); and the 2018 GRAMMY® award winning Christian McBride Big Band (April 19-22).
Dizzy’s Club Coca-Cola is located in Frederick P. Rose Hall, home of Jazz at Lincoln Center, located at 60th Street and Broadway. For additional information, visit jazz.org/dizzys.
April 2 | 7:30pm & 9:30pm

Winners of eight DownBeat Student Music Awards for Best Collegiate Jazz Group, the Brubeck Institute Jazz Quintet has performed all over the world, from top jazz clubs and festivals to an appearance at the United Nations as part of the Dave Brubeck forum, Jazz: A Language for Peace. Recent graduates of the group have played at Jazz at Lincoln Center multiple times and are now highly active jazz professionals. The 2017–2018 members of this prestigious ensemble are Evan Abounassar on trumpet, Isaiah Collier on saxophone, Xach Wagner on guitar, Gabe Rupe on bass, and Maya Stepansky on drums. Special guest drummer Carl Allen is a world-class jazz veteran who has worked with such musicians as Freddie Hubbard, Christian McBride, and Benny Green. This performance will highlight the incredible talent being fostered through educational outreach within the jazz community.
Cover: $35
Student: $20
April 3–4 | 7:30pm & 9:30pm“A garrulous tenor saxophonist and a highly lyrical flutist…” — The New York Times on Lew Tabackin
Award-winning saxophonist, flutist, and bandleader Lew Tabackin is an extraordinary musician dedicated to showing the full range of possibilities on his instrument—melodically, rhythmically, and dynamically. His huge sound and melodic approach to harmony have drawn comparisons to the late, great Coleman Hawkins, an icon to whom Tabackin has paid tribute at Dizzy’s Club Coca-Cola and The Kennedy Center. Tonight’s trio performances feature Randy Brecker, a fellow jazz giant, as special guest. In an esteemed career that has earned him six Grammy Awards, Brecker has worked with everyone from Charles Mingus and Horace Silver to Frank Zappa and Parliament-Funkadelic.
Cover: $35
Student: $20
April 5 | 7:30pm & 9:30pm
A 2010 graduate of Berklee College of Music, Charles Turner has played in New York City’s premier jazz clubs and at international festivals and competitions. Having performed alongside Dee Dee Bridgewater, Michael Feinstein, Patrice Rushen, Terri Lyne Carrington, and more, Turner’s experience and maturity as a performer reach far beyond his years. His silky tone, high-energy delivery, smart song selection, and exceptional ability as a scat soloist always make for a standout performance. Tonight, Turner makes an anticipated return to Dizzy’s Club Coca-Cola as a headliner.
Cover: $40
Student: $25
Helen Sung Quartet with special guest Catherine Russell
April 6 | 7:30pm & 9:30pm

The spirit of Thelonious Monk fills the House of Swing this weekend, as all three Jazz at Lincoln Center venues celebrate the 2018 Monk Festival. Pianist and composer Helen Sung leads the Dizzy’s Club shows, and she has crafted an extraordinary series that celebrates Monk in song, dance, and as a singular jazz icon, with a different band and unique theme for each evening. “The genius of modern music,” Thelonious Monk was an enormous influence on Sung and her musical evolution from classical to jazz piano. She was a member of the inaugural class of the Thelonious Monk Institute of Jazz Performance, was a semifinalist in the Thelonious Monk International Jazz Piano Competition. For night one of the Monk Festival, Sung draws from vocalist Carmen McRae’s legendary Carmen Sings Monk album, one of the best examples of “vocal Monk.” Sung’s band tonight features saxophonist John Ellis, bassist George DeLancey, and drummer Donald Edwards, with special guest vocalist Catherine Russell interpreting Monk’s iconic melodies.
Cover: $45
Student: $25
The “Monk Mob” with special guest Michela Marino Lerman
April 7 | 7:30pm & 9:30pm

For night two of the Monk Festival, Sung brings her “Monk Mob” octet, featuring some of New York City’s finest jazz artists: saxophonists John Ellis, Jordan Pettay, and Claire Daly; trumpeter Bruce Harris; trombonist Coleman Hughes; bassist George DeLancey; and drummer Donald Edwards. They will perform new arrangements of classic Monk tunes, featuring dynamic rhythmic interplay with special guest tap dancer Michela Marino Lerman.
Cover: $45
Student: $25
Helen Sung Quartet with special guest Dr. Eddie Henderson
April 8 | 7:30pm & 9:30pm

For the final night of the Monk Festival, Sung takes inspiration from the 1952 album Bird and Diz, which was one of Monk’s few sideman appearances. The band is a classic bebop jazz format, featuring saxophonist John Ellis, bassist George DeLancey, drummer Donald Edwards, and special guest trumpeter Dr. Eddie Henderson. They’ll be performing a combination of Monk originals and selections from the jazz repertory that Monk covered and recorded.
Cover: $35
Student: $25
April 9 | 7:30pm & 9:30pm

Manhattan School of Music’s programs of study for Jazz Arts majors are designed to develop skilled performers, composers, arrangers, and jazz educators in preparation for careers in jazz music. Systematic and rigorous conservatory training, combined with a myriad of performance and networking opportunities in New York City, make this program one of the richest of its kind for young jazz musicians. These talented young musicians prove that the spirit of swing is alive and well, and that the future of jazz is in extremely capable hands. Tonight they will treat audiences to a big band arrangement of John Coltrane’s beloved A Love Supreme, featuring Grammy Award–winning saxophone titan Joe Lovano as special guest.
Cover: $35
Student: $25
April 10-15 | 7:30pm & 9:30pm

Bassist Christian McBride is a master musician who has appeared on over 300 records. He is easily one of the most accomplished bass players alive, and his resume as a bandleader is also quite impressive. Join us at Dizzy’s Club Coca-Colato experience New Jawn, which, translated from Philadelphian, could be described as McBride’s “new joint.” The quartet includes Josh Evans, Nasheet Waits, and Marcus Strickland, musicians that are regularly featured at Jazz at Lincoln Center and all over the city both as bandleaders and as sidemen with some of jazz’s biggest names. Fans of McBride’s small groups will love this ensemble, and its unusual two-horns, no-piano lineup gives it a unique flavor. With just bass and drums holding down the rhythm section, McBride and Waits provide as rich and driving a foundation as any group could hope for. The group’s sold-out run at Dizzy’s Club in 2017 featured drastically different material and highlights across various sets, so first-timers and returning fans alike should not hesitate to see what they’re up to this time.
Cover: Tues, Wed $35 / Thurs, Sat, Sun $45 / Sun $30
Student: $25
April 16 | 7:30pm & 9:30pm

Pianist/bandleader Emmet Cohen and bassist Russell Hall are two of jazz’s finest young players. They’re first-call players not only among their peers, but also with master musicians of multiple generations. Tonight’s trio performance features drummer Albert “Tootie” Heath, a living legend whose recording career began in 1957 with John Coltrane. He’s since played with all of the greats, including a long run with his siblings in the Heath Brothers, and it’s inspiring to now see him working with these rising jazz stars. Swing by Dizzy’s for some of the best straight-ahead jazz in town.
Cover: $30
Student: $15
Live webcast and artist interview with WBGO host Rhonda Hamilton will begin at 7:15pm EST on jazz.org/live.
WBGO is proud to partner once again with Dizzy’s Club Coca-Cola on Monday Nights with WBGO. The series features talented new artists as well as groups from some of the area's great college jazz programs. Each performance is hosted by WBGO announcer Rhonda Hamilton.
April 17 | 7:30pm & 9:30pm

Australian trumpeter James Morrison is a world-renowned artist who has played with legends including Ray Brown, Dave Brubeck, Ray Charles, Dizzy Gillespie, Quincy Jones, and Wynton Marsalis. He has also performed and/or recorded with the London Symphony and Philharmonic Orchestras, and he has performed for two United States Presidents and Queen Elizabeth II. This level of popularity and demand started early for Morrison, who made his United States debut at the Monterey Jazz Festival when he was only 16 years old. Morrison has performed some excellent sets of swinging jazz at Dizzy’s Club, and we’re excited to bring him back for more.
Cover: $30
Student: $15
April 18
April 19- 22 | 7:30pm & 9:30pm

Grammy Award–winning bassist Christian McBride first composed for big band in 1995 as a commission for the Jazz at Lincoln Center Orchestra. The master musician has since appeared on over 300 recordings and is easily one of the most accomplished bassists alive. Now a leader of his own Grammy Award–winning Big Band, featuring a staggering and diverse lineup of top musicians, McBride simultaneously shows off his compositional talent and unmatched ability to drive a band from behind the bass. This hip group combines the classic big band sounds of the Swing Era with more than half a century of post-bop influences. You simply can’t go wrong when McBride is in charge.
Cover: Thurs, Fri, Sat $45 / Sun $35
April 23 | 7:30pm & 9:30pm

The 17-piece SUNY Purchase Jazz Orchestra (PJO), under the direction of Todd Coolman, is comprised of exceedingly talented students from the Conservatory of Music’s jazz studies program. Performing jazz from every era, from staples like Ellington and Basie to leading contemporary composers like McNeely, Clayton, Abene, and Schneider, the PJO always swings. The PJO and its many special guests have a long history with Dizzy’s Club Coca-Cola, and tonight the group features special guest pianist and organist Mike LeDonne, a modern master who in the past few decades has worked with Benny Goodman, Sonny Rollins, Milt Jackson, Dizzy Gillespie, and more. LeDonne’s portions of the performance will be a rousing tribute to legendary B-3 Hammond organist Jimmy Smith and guitarist Wes Montgomery.
Cover: $35
Student: $20
April 25
with special guests Paul Jost (4/27 & 4/28),
Adam Rogers (4/27) and Jonathan Kreisberg (4/28)

April 26–29 | 7:30pm & 9:30pm

“Not only has he mastered an instrument that has catapulted only a handful of players to the forefront of modern jazz—but [Locke] has done so in a way that transcends mere technique and establishes him as a unique and adventurous musical voice.” - San Francisco Bay Guardian
Vibraphonist Joe Locke is widely considered to be one of the lead voices on his instrument, winning numerous awards and polls, including multiple “Mallet Player of the Year” awards from the Jazz Journalists Association. Long known as a soloist capable of stunning physical power and broad emotional range, Locke has performed and recorded with many notable musicians, including Grover Washington Jr., Kenny Barron, Eddie Henderson, Cecil Taylor, Dianne Reeves, and Ron Carter. Tonight he presents his latest project, “Subtle Disguise,” featuring the outstanding core band of pianist Jim Ridl, bassist Lorin Cohen, and drummer Samvel Sarkisyan, with vocalist Paul Jost on April 27 and 28 and guitarist Adam Rogers on April 27 and guitarist Jonathan Kreisberg on April 28.
Cover: Thurs, Fri $40 / Sat $45 / Sun $35
Student: $20
April 30 | 7:30pm & 9:30pm

The Temple University Jazz Band – an exemplary student group led by Grammy Award-winning trumpeter Terell Stafford—returns to Dizzy’s Club Coca-Cola. Tonight’s performance, featuring iconic vocalist and entertainer Ann Hampton Callaway, will be a special display of up-and-coming talent under the leadership of extraordinarily experienced players. Stafford’s band credits include McCoy Tyner, Benny Golson, Jimmy Heath, and the Vanguard Jazz Orchestra, and his experience as an educator is equally extensive. The Temple University Jazz Band has shared the stage with such legends as Dizzy Gillespie, Max Roach, Benny Golson, Dr. Billy Taylor, and Wynton Marsalis, and Ann Hampton Callaway now adds her own legend to the band’s ongoing history.
Cover: $40
Student: $25
Doors open at 11:15pm every Tuesday through Saturday for the Late Night Sessions featuring some of the most talented up and coming jazz artists, with jam sessions on Thursdays and Saturdays hosted by Julian Lee.
Tuesday-Saturday, April 3-7LATE NIGHT SESSION: Joel Wenhardt
Tuesday-Saturday, April 10-14LATE NIGHT SESSION: Theo Hill
Tuesday-Saturday, April 17-21 (no LNS 4/18)
LATE NIGHT SESSION: Evan Sherman (4/17)LATE NIGHT SESSION: Evan Sherman Big Band (4/19, 4/20)LATE NIGHT DANCE SESSION: Evan Sherman Big Band (4/21)
Tuesday-Saturday, April 24-31LATE NIGHT SESSION: Noah Halpern: Booker Little Project (no LNS 4/25) 
Dizzy’s Club Coca-Cola, 5th floor, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, on Broadway at 60th Street, New York City.
Call 212-258-9595 or visit jazz.org/dizzys.
Dinner and drinks served nightly. Minimum of $10 applies to all.
General Admission:$20-$45 (unless noted otherwise)
Students: $5-$30 with valid student ID (selected sets only)
Late Night Session: $5-$20.
Headliner sets are 7:30pm, 9:30pm (unless noted otherwise).
Many of Jazz at Lincoln Center’s concerts stream live in high-definition audio and video for free to a global audience. The concerts will also be available on Livestream’s mobile and connected TV applications with real-time DVR, chat, photos and other materials available to fans worldwide at jazz.org/live.
For more information about Jazz at Lincoln Center’s 30th anniversary season, go to jazz.org.
Additional information may be found at jazz.org |
Facebook: facebook.com/dizzysclubcocacola | Twitter: @jazzdotorg |
Instagram: @jazzdotorg | YouTube: youtube.com/jalc| Livestream: jazz.org/live
Jazz at Lincoln Center proudly acknowledges its major corporate partners:
Bloomberg, Brooks Brothers, Centene Charitable Foundation,
The Coca-Cola Company, Con Edison, Entergy, SiriusXM, Steinway & Sons,
The Shops at Columbus Circle at Time Warner Center, and United Airlines.
Press Inquiries:
Rebecca Kim
Assistant Director of Public Relations
Jazz at Lincoln Center

Box Office Address and HoursBroadway at 60th Street, Ground floor
Mon–Fri: 10am–6pm
Sun: 12pm–6pm


martes, 20 de marzo de 2018



New documentary film on 94 year old Sammy Nestico entitled “Shadow Man” profiles the jazz and big band giant. Led The Count Basie Orchestra, the White House Orchestra, Airmen of Note, worked with countless icons from the shadows.

Film 16 years in the making; campaign to finish now live on Kickstarter

LOS ANGELES, CA (March 18, 2018) –  SHADOW MAN - The Sammy Nestico Story is a feature-length documentary film that explores the music, art, humanity, impact, and life of Sammy Nestico. It's a story the filmmaker – diane estelle Vicari – wants to tell and a legacy she wants to preserve.

“Over the past century, Sammy Nestico has been a giant contributor to the world of music,” says Vicari, “a true maestro - as a composer, orchestrator, writer, and arranger across the genres of classical, jazz, and big band sounds. He is also a quiet giant, helping to mold careers of musicians, some considered icons. He often worked behind the scenes ... like a shadow. That’s the basis for the title of the film.”

Vicari adds that Sammy’s greatest musical love has been working with youngsters and students pursuing their dream. He loves being an educator and mentor. She says his impact in this area is virtually unmatched.

Sammy Nestico recently turned 94 years young. His most recent Grammy nomination came only a year ago, at the age of 93. For over 70 years, he has plied his craft selflessly, and always with a smile.

During a 70+ year career, Sammy was the music arranger for the U.S. Air Force Band, the U.S. Marine Band, and leader of the White House Orchestra. He arranged music and led the Count Basie Orchestra for 17 years - picking up where his good friend Quincy Jones left off. Four of the 10 albums he arranged for Basie went on to win Grammy’s. He has served as a professor at the University of Georgia, and directed music programs at numerous universities. He arranged and conducted projects for Sarah Vaughan, Phil Collins, Toni Tennille, Barbra Streisand, Michael Bublé, and many others. He worked on countless films, and over 70 television programs includingMission: Impossible, Mannix, and Charlie's Angels. He wrote commercial jingles for Zenith, Ford, Mattel, and Anheuser Busch, to name a few. He is the author of The Complete Arranger, an influential text in the field of music education. To this day, there remain over 600 numbers published by Sammy Nestico still regularly used by schools in their classrooms. And Sammy stillloves to pick up a trombone, reminiscent of his days as a master trombonist for Gene Krupa, Charlie Barnet, and Tommy Dorsey. 

The late, great jazz journalist and educator Dr. Herb Wong said: "Sammy Nestico is a wizard. He is a masterful teacher who combines technique, strategy, enthusiasm, humor, humility, and humanity to reach music students in a way that few others ever have."

“The film is also a profile in Americana, and the post-Depression American Dream,” says Vicari. “Sammy grew up in the heartland, was the man of the house at 10, was a self-taught musician, became a master arranger in the Big Band Era, and always put music and musical sounds above ego and image. It’s an honor and a privilege for me to tell his story and I am proud to have become a good friend with Sammy and his wife Shirley.”

Vicari and her husband, multi-Grammy winning producer Tommy Vicari, have financed the film from limited funds over a 16 year period. Sammy is now 94. In an effort to finish the film hopefully so Sammy can see it, she launched a crowd funding campaign on Kickstarterhttp://kck.st/2EWQVC2. “Sammy is active in the process,” says Vicari. “He watches the crowd funding campaign and responds to comments from fans on Facebook, and he loves it. It is wonderful to see.” She adds that Sammy has also helped by signing limited edition collectibles to augment the “rewards” on the Kickstarter page.

The campaign is mostly funded, and ends on March 29.

Filmmaker Vicari lives in Los Angeles, Sammy in Northern San Diego County. Sammy is available for phone interviews. The Kickstarter is athttp://kck.st/2EWQVC2.  

sábado, 17 de marzo de 2018

Expanded Critics’ Poll Results by JazzTimes

Expanded Critics’ Poll Results
by JazzTimes
Best New Artist Jazzmeia Horn (photo by Jacob Blickenstaff)

For this annual companion poll to last issue’s Top 50 Critics’ Picks, our regular contributors and critics participated in this survey based on our yearly Readers’ Poll. Voters were asked to focus on artists’ achievements during 2017 rather than assessing entire careers.
Winners are bolded; runners-up are listed below in order of number of votes. An asterisk* denotes a tie.  EVAN HAGA, EDITOR

Best of all

New Artist
Jazzmeia HornJaimie Branch
Roxy Coss
Thomas Morgan
Artist of the Year
Vijay IyerJohn McLaughlin
Tyshawn Sorey
Jason Moran*
Cécile McLorin Salvant*

Best groups

Acoustic Small Group/Artist
Charles Lloyd New QuartetVijay Iyer Sextet
Steve Coleman’s Natal Eclipse
Wayne Shorter Quartet
Electric/Jazz-Rock/Contemporary Group/Artist
Hudson (DeJohnette/Grenadier/Medeski/Scofield)Christian Scott aTunde Adjuah
Rudresh Mahanthappa’s Indo-Pak Coalition
Snarky Puppy
Big Band/Large Ensemble
Maria Schneider OrchestraArturo O’Farrill’s Afro Latin Jazz Orchestra
John Beasley’s MONK’estra
Amir ElSaffar Rivers of Sound

Best of the industry

Record Label
ECMBlue Note
Syndicated Radio Program
Jazz Night in AmericaRadio Deluxe With John Pizzarelli
Jazz After Hours With Jeff Hanley
Jazz Inspired With Judy Carmichael
The CheckoutJazzTimes Spins & RiffsA Noise From the DeepStraight No Chaser
Winter Jazzfest (NYC)Newport Jazz Festival
Monterey Jazz Festival
Montreal International Jazz Festival*
Detroit Jazz Festival*
I Called Him MorganChasing TraneBill Evans: Time RememberedJimmy Scott: I Go Back Home
Good Things Happen Slowly: A Life In and Out of Jazz by Fred HerschMessage to Our Folks: The Art Ensemble of Chicago by Paul Steinbeck
Vinyl Freak: Love Letters to a Dying Medium by John Corbett
Village VanguardJazz Standard
The Stone/The Stone at the New School

Best musicians

Ambrose AkinmusireChristian Scott aTunde Adjuah
Wadada Leo Smith
Dave Douglas
Roswell RuddRyan Keberle
Wycliffe Gordon
Robin Eubanks
Anat CohenKen Peplowski
Evan Christopher
Paquito D’Rivera
Tenor Saxophonist
Joe LovanoChris Potter
Charles Lloyd
JD Allen
Alto Saxophonist
Rudresh MahanthappaSteve Coleman
Kenny Garrett
Tim Berne*
Miguel Zenón*
Soprano Saxophonist
Wayne ShorterChris Potter
Dave Liebman
Jane Ira Bloom
Baritone Saxophonist
Gary SmulyanBrian Landrus
James Carter
Claire Daly
Nicole MitchellCharles Lloyd
Jamie Baum
Henry Threadgill
Jenny ScheinmanRegina Carter
Sara Caswell
Mark Feldman
Vijay IyerCraig Taborn
Jason Moran
Chick Corea
Herbie HancockCraig Taborn
Robert Glasper
John Medeski
Dr. Lonnie SmithJoey DeFrancesco
Larry Goldings
John Medeski
Bill FrisellJulian Lage
Mary Halvorson
John Scofield
Double Bassist
Christian McBrideLinda May Han Oh
Thomas Morgan
Ron Carter
Electric Bassist
ThundercatSteve Swallow
Matthew Garrison
Richard Bona
Warren WolfStefon Harris
Joe Locke
Jason Adasiewicz
Jack DeJohnetteBrian Blade
Terri Lyne Carrington
Billy Hart
Pedrito MartinezCyro Baptista
Kahil El’Zabar
Zakir Hussain
Vocalist (Male)
Gregory PorterTheo Bleckmann
Kurt Elling
Tony Bennett
Vocalist (Female)
Cécile McLorin SalvantJazzmeia Horn
Lizz Wright
Dee Dee Bridgewater
Tyshawn SoreyVijay Iyer
Maria Schneider
Steve Coleman
Best Arranger
Maria SchneiderJohn Beasley
Arturo O’Farrill
Darcy James Argue
Misc. Instrumentalist
Tomeka Reid (cello)
Grégoire Maret (harmonica)
Béla Fleck (banjo)
Scott Robinson (contrabass saxophone)

viernes, 16 de marzo de 2018

Vocalist Erin McDougald's new album Outside the Soiree

Vocalist Erin McDougald's new album Outside the Soiree 

Vocalist Erin McDougald's new album Outside the Soiree is OUT TODAY,  March 16, 2018(Erin’s birthday!) on Miles High Records.  The fourth recording from a voice that Jazz Improv Magazine has called a “rare instrument to be savored... sweet and spicy, positively mercurial” offers a thematic narrative via modern reinterpretations of obscure standards, McDougald's own original composition and genres “outside” the jazz idiom.
Erin is joined on Outside the Soiree by a stellar band featuring special guests saxophonist Dave Liebman and trumpeter Tom Harrell along with guitarist and pianist Rob Block, bassist Cliff Schmitt, drummer Rodney Green, percussionists Mark Sherman and Chembo Corniel, and saxophonist Dan Block.
McDougald celebrates the CD release with a series of concerts around the country:
  • Tonight, March 16 at the Acorn Theater in Three Oaks, MI
  • Friday, April 20 at Bar Fedora in Los Angeles, CA
  • Wednesday, May 9 at Small's in NYC
  • Wednesday, May 30 at Vibrato Grill & Jazz Club in Los Angeles, CA
Outside the Soiree: Erin McDougald’s latest album exemplifies the concept of thinking - and singing - outside the box
Featuring Jazz Luminary-Legends David Liebman & Tom Harrell

Available March 16, 2018 via Miles High Records

...ebullient, deeply soulful singing.”—Chicago Tribune

CD Release Concerts: • March 16 – Acorn Theater, Three Oaks, MI • April 20 – Bar Fedora, LA, CA • May 9, Small’s Jazz Club, NYC • May 30 – Vibrato Grill & Jazz Club, LA 

Ever feel left out of the party? Vocalist Erin McDougald’s fourth studio recording, Outside the Soiree, is a heartfelt ode to all the outsiders – those independent-minded souls who find themselves, by choice or by fate, living outside the halls of power: neglected by history, oppressed by the majority, lonely in love, bucking the trends, swimming upstream.

Due out March 16, 2018 (Erin’s birthday!) from Miles High RecordsOutside the Soireeoffers a thematic narrative explored through “McDougald’s evocative artistry” (Chicago Music Guide), a voice that Jazz Improv Magazine has called a “rare instrument to be savored... sweet and spicy, positively mercurial.” The subject matter is poignantly and uniquely expressed from unexpected musical angles as Erin seamlessly amalgamates, modernizes and reinterprets obscure standards, her own original composition and genres “outside” the jazz idiom within a progressive jazz mentality.
She’s joined by a stellar band featuring guitarist and pianist Rob Block, bassist Cliff Schmitt, drummer Rodney Green, percussionists Mark Sherman and Chembo Corniel, and saxophonist Dan Block. The band is given the imprimatur of a couple of born outsiders who’ve become insiders (and legends) through decades of singular artistry: saxophonist David Liebmanand trumpeter Tom Harrell.
McDougald is well acquainted with the outsider’s existence; she tends to be one herself. Known by her fans as “the Flapper Girl,” the Chicago-based improvisational jazz singer is a progressive thinker with a throwback aesthetic. She embodies the sensuality and fierce emancipatory attitude of an audacious fashionista and political egalitarian in her personality and artistry. With a moniker evoking a ‘20s-era flapper she’s not interested in glamorous nostalgia, but instead spotlights the formidable female icons that stemmed from an era of resistance that forever changed American culture and its musical heritage.
As McDougald regularly points out to audiences, flappers were suffragists, with libidos, rhythm, style and social cachet. As “the flapper girl of modern vocal jazz”, Erin’s artistry has become synonymous with marrying vintage foundations and contemporary concepts in her rhythmic, daring interpretations of era- spanning jazz, from American Swing through the Post-Bop catalogue. Her ability to borrow music from other genres and infuse a jazz treatment has garnered her fans of all ages, and collaborators with global renown.
Miss McDougald has appeared and or recorded with members of the elite jazz scene that include Nicholas Payton, Paul Wertico, Ira Sullivan, Carlos Henriquez, Ben Wolfe, Von Freeman, Howard Levy, Roy Hargrove and many others. Downbeat critic and Jazz Journalist Association President Howard Mandel declares, “McDougald is one of the finest and freest voices in jazz OR pop today.” The late Verve Records producer/conductor/arranger Buddy Bregman emphatically stated of Erin in 2006, “There’s an essence to her singing that is all her own... not a mimicked, watered-down version of someone else, but... a very deep, soulful connection to the songs she chooses. Her pitch and phrasing are superb, but there is something about her interior—very sweet... she has ‘It’. My favorite singer to come along since Anita O’Day in her prime.”
With performances in sold-out venues from Chicago to Paris, McDougald has headlined The Chicago Jazz Festival’s Heritage Stage, and premier jazz venues such as The Jazz Showcase, The Allerton, Green Dolphin Street, The Green Mill, 54 Below, Smalls, Anthology, Savanna Jazz, The Mint, Dizzy’s of San Diego, The Velvet Note, BluJazz, The Acorn Theater, Notes Jazz Club, and Le Bilboquet in Paris, among many others.
Outside the Soiree is a sublime symposium of venerable soloists and emerging talents that expose a raw synergy and emotive message. Erin’s keen idea to turn Charles Deforest’s obscure, melancholy 1950’s ballad “Don’t Wait Up for Me” into a liberating, rhythmic 5/4 proclamation also crystalizes the style and strengths of featured soloists David Liebman on soprano saxophone and Tom Harrell on trumpet (with impeccable embellishment by drummer Rodney Green). Likewise, the sophisticated and changing time signatures on Erin’s “Midnight Sun” shed light upon vibraphonist Mark Sherman’s musical eloquence where again Liebman shines in a flurry of pithy soprano sound.
Brothers Rob and Dan Block create an ethereal, sorrowful beauty on the group’s Chorinho-styled adaptation of the Broadway musical song “Unusual Way;” Tomoko Block (Rob’s wife) teamed up with Rob to arrange this gem, showcasing Rob’s quietly weeping guitar solo and Dan’s haunting clarinet playing. Percussionist Wilson “Chembo” Corniel is strongly showcased along with bassist Cliff Schmitt on Erin’s original composition and title track “Outside the Soiree” in a connected, reflexive and moving journey through Erin’s poetic lyricism and mournful melody. Hard-swinging is Erin with her band on songs like “Spring Can Really Hang You Up the Most” and “Don’t Be on the Outside;” exceptional elements of avant-garde singing and playing are showcased on the CD’s final cut, “The Parting Glass,” a deftly reimagined traditional Irish funeral hymn in a minor key, performed with thundering gravity. The addictively nuanced Cha-Cha rendition of “Brother, Can You Spare a Dime?” gloriously highlights the band with undulating musicality and fervor.
McDougald celebrates with a concert on her birthday – the album’s release date – Friday, March 16, 2018 at The Acorn Theater in Three Oaks Michigan. Admission is $35 and includes a copy of the CD or $20 without a copy of the CD. Tickets should be purchased in advance at www.acorntheater.com.
Recorded & Mixed by Dae Bennett.
Liner Notes by Howard Mandel (Jazz Journalists Association, DownBeat).
Album concept, design & overall production: Erin McDougald.
Co-executive producers: Larry Young & Mark Sherman.
Photography: Gulnara Khamatova. Artwork: Miriam Dauber. Graphics: Lisa Ghisolf.
Publicist: Ann Braithwaite –ann@bkmusicpr.com
Radio Promoter: Mark Elf –jenbayjazz@gmail.com 

Bill Frisell Music IS - to be released March 16 on OKeh/Sony Music Masterworks

Bill Frisell Music IS - to be released March 16 on OKeh/Sony Music Masterworks

Almost every day, Bill Frisell gets up in the morning, has some coffee, and writes music. At this point, there are piles and piles and piles of single pages of staff paper filled with his graceful script. "I don't know where the melodies come from," says Frisell. "I try not to judge anything and just let them be." 

Frisell's mantra, or motto so to speak, is, "Music is good" - a statement said to him by his dear friend and great banjo player Danny Barnes. "That is something that I can say is always true. It's so perfect. Everything I need to know is that phrase, 'Music is Good.' I almost called the album that, but then I thought that might be too literal. It's good to leave it open." 

Music IS - to be released March 16 on OKeh/Sony Music Masterworks - marks the long awaited solo album from the master of his craft..

"Playing solo is always a challenge," Frisell says. "For me, music has all along been so much about playing with other people. Having a conversation. Call and response. Playing all by myself is a trip. I really have to change the way I think." In preparation for this recording Frisell played for a week at The Stone in New York, each night attempting new music from the many piles of staff paper he has accumulated over the years. "I was purposely trying to keep myself a little off balance. Uncomfortable. Unsure. I didn't want to fall back on things that I knew were safe. My hope was to continue this process right on into the studio. I didn't want to have things be all planned out beforehand."

He tried to keep that light and spontaneous feeling when recording. The whole process - choosing the tunes, playing the gig, tracking in the studio - ended up feeling like an investigation into memory. There was no planned concept, but what materialized almost felt like an overview. 

The focus of Music IS is on the telling of musical stories from Frisell's original and inimitable perspective: some of the interpretations being naked, exposed and truly solo, while others are more orchestrated through overdubbed layering and the use of his unparalleled approach to looping. 

Frisell has done so much. He's on well over 250 records, with over 40 of those as a leader. The pieces on Music IS range from his earliest jazz records from the mid-'80s to excerpts from recent multi-disciplinary collaborations.

Recorded in August of 2017 at Tucker Martine's Flora Recording and Playback studio in Portland, Oregon and produced by longtime collaborator Lee Townsend, all of the compositions on Music IS were written by Frisell, some of them brand new - "Change in the Air," "Thankful," "What Do You Want," "Miss You" and "Go Happy Lucky" - others being solo adaptations of now classic original compositions he had previously recorded, such as "Ron Carter," "Pretty Stars," "Monica Jane," and "The Pioneers." "In Line," and "Rambler" are from Frisell's first two ECM albums. 

"Lee Townsend and Tucker Martine are two of my longtime, closest, most trusted musical brothers," explains Frisell. "We've been through thick and thin. They clear the way for me to just PLAY. When we got to the studio I brought a big pile of music and we went from there. Let one thing lead to the next. Trust the process. In the moment. We mixed as we went along. The composing, arranging, playing, recording, and mixing all became one thing."

"I knew from the beginning that I wanted to record my own compositions," Frisell concludes. "In the past few years I've done so many projects playing other people's music (John Lennon, Guitar in the Space Age, When You Wish Upon a Star, etc.). It's wonderful...and seductive. That's how I learn. I could spend the rest of my life studying Burt Bacharach....or Charlie Parker...or Bach...or? Never ending. But, it was time to get back to my own stuff. What ended up on this album were a variety of pieces. Some brand new and some from way far back. 'In Line' and 'Rambler' are from my very first recordings on ECM. I've been plugging away playing music for more than fifty years now. I'll never figure it out. One of the amazing things about getting older is being able to revisit things that I heard or played long ago. There's always something new to discover, something to uncover. New pathways open up. If I'm really lucky I might even realize that I've learned something along the way. It's far out looking at my own music though this long lens."

Music IS. The end result is Bill Frisell at his most distilled and fully realized

jueves, 15 de marzo de 2018



“The jazz supergroup of the year is right here – SHEROES!”
Howard Mandel – Author, Jazz Journalist

The timing couldn’t be better for the release of this remarkable recording. SHEROES, created and led by pianist/composer Monika Herzig, features an international cast of virtuoso players - all women, all first-call talents - including Jennifer Vincent (bass, USA), Rosa Avila (drums, Mexico), Mayra Casales (percussion, Cuba/USA) Leni Stern (guitar, Germany/USA), Jamie Baum (flutes, USA), Reut Regev (trombone, Israel/USA), and Ingrid Jensen (trumpet, Canada/USA) rounding out the lineup extending the group’s serious pedigree on its second Whaling City Sound release.

Ably supported by this great band, pianist Herzig is its catalyst. As a Doctor of Music Education at Indiana University, she serves as a Senior Lecturer in Arts Management. Named the 2015 Jazz Journalist Association Jazz Hero for the city of Bloomington, she has also authored two critically praised books, Dr. David Baker – A Legacy in Music, foreward by Quincy Jones (IU Press 2011) and Experiencing Chick Corea – A Listener’s Companion (Rowman & Littlefield 2017).

As an ensemble of empowerment, SHEROES is a musical force, operating with deftness, invention, enthusiasm and ambition. Herzig does much of the writing and arranging, but Regev, Baum, Vincent, and Stern all contribute compositions alongside covers, including “House of the Rising Sun” and “Ain’t No Mountain High Enough,” prompting Valerie Simpson, its composer, to write “I honestly really really liked it,” and jazz phenom Terri Lyne Carrington to write “a brilliant project…soulful and thoughtful, it captures the spirit of this group because there’s no stopping great artists from making great music as demonstrated by this stellar recording.”

Says Herzig of her colleagues, “these are all incredibly accomplished musicians, often sacrificing other opportunities, family time and resources to perform in this group. They are my idols in terms of tenacity and accomplishment and should be more widely heard and appreciated." In a sense, SHEROES also heralds an era of greater and deeper consideration for women in jazz. Says Jazz Journalist Association President, Howard Mandel in his liner notes, “That’s exactly what Monika and company does: Present a model of empowerment with results that are good for everyone.  Wherever you are on the gender continuum, you’ll like it. SHEROES make music!

Jazz critic Bob Blumenthal agrees: “Female musicians are now prominent practitioners on all instruments. They win competitions and polls, lead bands large and small, and set new trends in improvised music. Herzig herself is a visionary artist and educator, a true jazz warrior with an already fascinating career.”

Each song is engaging, the playing accomplished and inspiring - JAZZIZ

Extraordinary stuff that deserves your attention. 

March 23 2018 Release
From Whaling City Sound, New Bedford, MA
Distribution: NAXOS of America Inc.

miércoles, 14 de marzo de 2018

Where Did 'Jazz,' the Word, Come From? Follow a Trail of Clues, in Deep Dive with Lewis Porter

Where Did 'Jazz,' the Word, Come From? Follow a Trail of Clues, in Deep Dive with Lewis Porter

A page from 'The big jazz book,' by Bartholomaus Zientek
When it comes to the origin of the word “jazz,” it seems that each person simply believes what she or he wants to.
Some would like the word to come from Africa, so they firmly believe the stories that support that. Others want it to be an African-American word, so they look for that. The venerable saxophonist, composer and educator Archie Shepp lived in Paris for many years, and he has not the slightest doubt that “jazz” is a French word. But professional linguists (scholars of languages and their history), etymologists (researchers of word origins) and lexicographers (dictionary researchers) have been on the case for decades, and the real story is far less simple. Let’s take a look.
The word “jazz” probably derives from the slang word “jasm,”which originally meant energy, vitality, spirit, pep. The Oxford English Dictionary, the most reliable and complete record of the English language, traces “jasm” back to at least 1860:
J. G. Holland Miss Gilbert's Career xix. 350   ‘She's just like her mother... Oh! she's just as full of jasm!’.. ‘Now tell me what “jasm” is.’.. ‘If you'll take thunder and lightening, and a steamboat and a buzz-saw, and mix 'em up, and put 'em into a woman, that's jasm.’
Note the discussion of what “jasm,” means, which suggests that it was fairly new, not in widespread use at the time. Some have suggested that it originated as a variant of “gism,” which has the same meaning and can be traced back a little further, to 1842. By the end of the 1800s, “gism” meant not only “vitality” but also “virility,” leading to the word being used as slang for “semen.”
But — and this is significant — although a similar evolution happened to the word “jazz,” which became slang for the act of sex, that did not happen until 1918 at the earliest. That is, the sexual connotation was not part of the origin of the word, but something added later. According to the etymologist Professor Gerald Cohen, the leading researcher of the word “jazz” (and author of a study summarizing his work to date; see below), it’s not even certain that “gism” and “jasm” are related. The research is still ongoing, and it’s quite possible that they are two independent words. In short, “jazz” probably comes from “jasm,” and let’s leave “gism” out of it.
"Ben's Jazz Curve," Los Angeles Times, April 2, 1912.
“Jazz” seems to have originated among white Americans, and the earliest printed uses are in California baseball writing, where it means “lively, energetic.”  (The word still carries this meaning, as in “Let’s jazz this up!”) The earliest known usage occurs on April 2, 1912, in an article discovered by researcher George A. Thompson, and sent to me courtesy of Dr. Cohen.
The page is hard to read, so I have retyped the text, with clarifying comments [in brackets]:
"I got a new curve this year," softly murmured Henderson yesterday, "and I'm goin' to pitch one or two of them tomorrow.  I call it the Jazz ball because it wobbles and you simply can't do anything with it." [That is, it's too lively for them to hit it.] As prize fighters who invent new punches are always the first to get their's Ben will probably be lucky if some guy don't hit that new Jazzer ball a mile today.  It is to be hoped that some unintelligent compositor does not spell that the Jag ball.  That's what it must be at that if it wobbles.  [That is, he jokes, don't confuse this with a drunken "jag."]
Please also notice that in this very first printed use of the word, it is spelled “jazz.” So, the common belief that it was originally spelled “jass” is also false.  The word was spelled various ways at first, not always one way. What is true is that with a new word, especially slang, it sometimes takes a while for the spelling to become standardized. Victor Records said as much in its 1917 ad for the first recording by the Original Dixieland Jass (sic) Band, generally considered the first jazz record. The ad states, “Spell it Jass, Jas, Jaz, or Jazz—nothing can spoil a Jass band”!
When mistakes do occur in the OED, they are soon corrected. The dictionary once maintained that the word “jazz” was first documented on a recording in 1909, three years before the baseball reference.  But that was a mistake! They had confused two recordings of the same song made by the same artist, Cal Stewart. He made a recording in 1909 called “Uncle Josh in Society.” That does not use the word “jazz”. He recorded the same song in 1919 and added the word “jazz,” because by then everybody was using the word “jazz.”
Getting back to the verified occurrences in 1912, the word “jazz” appeared again in the L.A. Times on April 3. Then it was used in a series of baseball articles in the San Francisco Bulletin starting in March 1913. (Dr. Cohen explains that, despite the isolated L.A. occurrences, the word comes from San Francisco.) It's clear that the word was new, because the sports writer in San Francisco, “Scoop” Gleeson, felt that he needed to add, on March 6, 1913, this explanation:
What is the "jazz"? Why, it's a little of that "old life," the "gin-i-ker," the "pep," otherwise known as enthusiasalum.
(I think “gin-i-ker” means “full of gin.”)
Just a month later, on April 5, 1913, the same newspaper published a long article about the word “jazz,” noting its meaning and various spellings. “Jazz” clearly was a new word here, as the OED notes: “The existence of an article entitled ‘In praise of ‘jazz,’ a futurist word which has just joined the language’…suggests that the word was then a very recent innovation.”
But this 1913 article, like another one published by a press agent named Walter Kingsley four years later, was a bit of a spoof, including examples of the word that were meant to be comical, but have been assumed to be true by many readers since. So please be aware that, contrary to these articles, the word does not appear in any of John Milton's writings (in the late 1600s), nor in the writings of Lafcadio Hearn (who would at least seem a more likely candidate, having written in the late 1800s about New Orleans culture).
By 1915, jazz was being applied to a new kind of music in Chicago. The story of how the word may have migrated from California to Illinois is complicated, and will be covered in a future post. For now, suffice it to say that the Chicago papers were definitely referring to a music called "jazz" by mid-1915.
And soon there were songs about the new music. Collins and Harlan (baritone Arthur Collins and tenor Byron Harlan) were a popular white duo who used the minstrel-style "black dialect" that was accepted at the time but is distasteful today. 
This recording, made for Thomas Edison's company on Dec. 1, 1916, of "That Funny Jas Band from Dixieland" (music by Henry Marshall , lyrics by Gus Kahn), is the first recorded song to use the word “jazz.” It appears in the title (spelled "jas", at the top of the page) and they also sing it in the lyrics.
After they sing, they do a spoken dialog where Harlan, playing a black woman in minstrel style, asks "What is a jas band?" The replies are tongue-in-check, as you’ll hear. After that, the band plays a wild interlude, and the duo sings some more. 
It should be clear by now that all of the popular stories about the origin of the word are wrong — and I do mean all! Word origins seems to be one of those fields where everybody thinks he or she is an expert. One reason there are so many false theories about the origin of “jazz” is that fans, not trained in etymology, have gone looking for any words that sound like “jazz.” They found slightly similar sounds in French, some African languages, even Gaelic.
But this is simply not how this type of research is done. Countless words in different languages sound alike but have absolutely no relationship to each other. A trained etymologist is familiar with many languages, and with the histories of languages (so as to know whether one language influenced the other). And he or she knows how words develop and are formed. (For example, it is absolutely false that “golf” comes from an acronym of “Gentleman only, ladies forbidden”—not only because there are potential sources for the word in Scottish and Dutch languages, but because experts know that words were not formed from acronyms until after 1900.)
One of the most ridiculous stories about the origin of the word, advanced in Ken Burns’ Jazz, holds that “jazz” is short for the jasmine perfume that “all” New Orleans prostitutes wore. (Remember, the word is not from New Orleans — and there are many other reasons this makes no sense.) There’s also no truth to the idea that “jazz” came from “Jasbo,” “jaser,” ”Jasper” or “Jezebel” — all are based on nothing but hearsay. Further, because the word did not originate among African Americans, a connection with African languages does not exist. It did not originate in New Orleans, so there is no connection with French. I know from experience that many of my readers will have their own favorite theories. Please, let go of them!
Furthermore, as noted by the late jazz historian Lawrence Gushee, almost all of the original New Orleans jazz musicians said that “jazz” was not used in New Orleans. They were adding improvisation to ragtime and other kinds of music, so they would refer to it as their version of “ragtime.”
They said they first heard the word “jazz” up north (usually meaning Chicago). In fact, the first known printed use of the word to refer to music in New Orleans comes from 1916, after it was already in use in Chicago and elsewhere. (New Orleans musicians born between, say, 1885 and 1901 were documented in hundreds of interviews, notably the series conducted for the Hogan Archive at Tulane University starting in 1958.)  
Duke Ellington, seated, and Max Roach, left.
Significantly, this means that Duke Ellington (b. 1899) and Max Roach (b. 1924) were both right when they said the music was named by white people, not by the black musicians who created it. Even Sidney Bechet (b. 1897) wrote in his autobiography, Treat it Gentle: “Jazz, that’s a name the white people have given to the music.” Why have we been ignoring these revered artists? They were absolutely right.
It is probably also worth noting that the general public applied the word “jazz” in the 1920s to basically any type of dance music, including quite a bit of dance music that we would not consider jazz today. This means for example, that when F. Scott Fitzgerald published his Tales of the Jazz Age in 1922, he did not mean that the average white American was hip to the latest recordings by black artists (of which there were yet very few, in any case)! His title simply meant that the latest dance music had become a symbol for that generation, just as rock music was for young people in the 1960s.
But you can also see how Max Roach was wrong when he said they applied the term “jazz” as an insult. This was advertising! “Come see this lively, exciting, JAZZ music!” It would have made no sense if the word were perceived as negative. Did the word have a sexual connotation in some circles, as he claimed? Absolutely: any word for energy eventually has sexual connotations, it seems. But that connotation came later, and in any case it probably wasn’t the thinking of the white folks who named the music. On the other hand, did the word stand in the way of many “respectable” people, white and also religious black Americans, from accepting this new kind of music? Definitely so.
It certainly seems to be true, as Duke and Max and Bechet and so many black artists have felt, that the word has held the music back. It's understandable that many black artists like my late friend Dr. Billy Taylor campaigned to have the music called America’s Classical Music, or other similar terms.
When I first started teaching in colleges in 1977, it was clear that the name itself was disrespected by many European Americans — mostly older folks, but younger ones too. However, my experience with young people since the early 1990s is that not only do they not disrespect the word “jazz,” they have never even heard of people disrespecting it, and they are astounded to learn that used to be the case. Calling for a change in the name of our music seems to be a recurring event, but obviously it could only happen if everyone on the planet agreed to it, which is an impossibility. In any case, as I said, the need is long past.
Trumpeter (and keyboardist) Nicholas Payton has been writing since 2011 about the problems with the word “jazz.” But his point is broader than trying to find a new name for the music. He’s arguing, in part, that the word evokes a type of music still rooted in 1959.
Probably this is a reference to the idea of jazz that has been very successfully promoted by Wynton Marsalis and the institution he cofounded, Jazz at Lincoln Center. Marsalis has undeniably helped raise jazz to its current level of respectability — but at the same time, many feel that this has been accomplished by being overly entrenched in the classics of past jazz. So Payton’s point, as I understand it, is that his own music and the music of many of his peers is not adequately labeled by the word “jazz.” His suggestion of Black American Music (BAM) has not caught on — I suspect largely because there are so many kinds of Black American Music (jazz, blues, rap, hip-hop, gospel, etc., etc.) that it’s way too broad as a category.
Christian Scott aTunde Adjuah in New Orleans, 2017
Christian Scott aTunde Adjuah, another excellent New Orleans trumpeter and a very smart guy, has also spoken about how he began to find the term jazz “limiting.” He created his own new term, “stretch music,” for a sound free of artificial and arbitrary boundaries. This might be related in a way to Payton’s line of argument. In the late ‘60s and early ‘70s, jazz record sales and audience attendance dropped precipitously. As a result, many jazz musicians creating what was then called “fusion” complained that by marketing their music as “jazz,” the recording companies were automatically cutting off many potential fans and buyers.
The concerns of Payton and Scott, then, are coming from a different direction — not where does the word come from, but what does the word “jazz” truly mean to today’s music audiences? And that ties in with some questions about the current and possible future states of jazz, which we’ll save for another time.
For Further Reading:
Gerald Leonard Cohen, Origin of the Term 'Jazz,' self-published, 2015 (193 pages).
Porter, Jazz: A Century of Change (Schirmer, 1997; reprinted by Thomson, 2004)
Wikipedia on Jazz the word
For more about Arthur Collins, click here.
After 31 years at the Rutgers campus in Newark, Dr. Lewis Porter now teaches at The New School jazz program. An accomplished pianist, his latest album is Beauty & Mystery(Altrisuoni), with Terri Lyne Carrington, John Patitucci and Tia Fuller