• Home
  • About
    • Jazz Beyond Jazz
    • Howard Mandel
    • Contact
  • AJBlogs
  • ArtsJournal

Jazz Beyond Jazz

Howard Mandel's Urban Improvisation

Archives for July 2011

UNESCO names pianist Herbie Hancock “goodwill ambassador”

Pianist Herbie Hancock has been appointed a “goodwill ambassador” by UNESCO. The 71-year-old multiple Grammy winner, Chicago-born child prodigy, Miles Davis’ keyboards man ushering open-form improvisation, electronic instruments and studio procedures into the past half-century of jazz-based music and talent scout with global interests joins an international coterie that currently includes Nelson Mandela, Pierre Cardin, Claudia Cardinale, Forest Whitaker, Jean Michel Jarre and royal personages from Belgium, Jordan, Morocco and Thailand.

A composer, interpreter, performer, soloist and bandleader of serious, sophisticated and also commercial crossover success — one of the rare musicians who is both artist and entertainer, leader and accompanist, classicist and innovator — Hancock will “use music to cross cultural boundaries and promote literacy and creativity among youth around the world.” He calls for April 30 to be recognized as “international jazz day” and will lobby for UNESCO to cite jazz on its World Heritage List of “936 properties forming part of the cultural and natural heritage which the World Heritage Committee considers as having outstanding universal value.”

Hancock’s evergreen-hip, vamp- and ostinato-based tunes such as “Watermelon Man” (written in 1962, re-arranged in ’73), “Chameleon” (issued in ’73, basis of garage jam sessions ever since), “Rockit” (the ’83 injection of hip-hop turntablism to the future-funk mix, marketed with an eye-grabbing video) and “Cantaloupe Island” (from the 1963 recording, Hancock and trumpeter Freddie Hubbard sampled to make US3’s “Cantaloop” a dancefloor smash in ’93) have intrigued musicians as well as listeners over four decades. So has his virtuosic, spontaneous pianism, which runs the gamut: cool-to-the-point-of-minimal, inquisitive, expansive and engaged, rhythmically energized or rhapsodic, post-modernly self-conscious or really, truly, freely free (hear him with Miles at the Plugged Nickel, 1966.

Hancock’s 1998 album Gershwin’s World is an excellent example of his range. It includes his performance of Gershwin’s Concerto for Piano and Orchestra in G, second movement and Prelude in C# Minor with soprano Katheleen Battle, alongside renditions of “St. Louis Blues” with Steve Wonder playing harmonica, “Embraceable You” sung by Joni Mitchell, a piano duet with Chick Corea and a couple of relatively straightahead tracks for a combo with saxophonist Wayne Shorter, his collaborator of nearly 50 years. But even that recording skips several of Hancock’s interests.

Besides popularizing the Fender Rhodes electric piano on Davis productions Filles de Kilimanjaro and In A Silent Way, Hancock introduced synthesizers (at first programmed and played by Dr. Patrick Gleeson) to jazz with his Mwandishi band. He’s worked with Latin percussionists (“Watermelon Man” was originally a hit for Mongo Santamaria). He’s had a longtime interest in Brazilian music, recording with Milton Nascimento, on video with Gal Costa and Antonio Carlos Jobim. River: The Joni Letters was only the second jazz recording ever to win the Grammy nod for Album of the Year, in 2008.

My desert island choice of Hancock’s music is Maiden Voyage, released in 1965. Discovering it when I was 16 led me to his just-previous Emperyan Isles and many subsequent recordings by Shorter, Ron Carter and Tony Williams (his colleagues in Miles’ great quintet), Hubbard, Bobby Hutcherson, Sam Rivers, Dexter Gordon, and more. In this clip he wades in gradually, is bouyed by Carter (bass) and Willians (drums), then welcomes Hubbard and saxophonist Joe Henderson.

Hancock has been in the front line of modern jazz piano evolution, following from Duke Ellington, Thelonious Monk and Cecil Taylor to Andrew Hill, Joe Zawinul, McCoy Tyner, Paul Bley, Mal Waldron, Chick Corea, Keith Jarrett. On Crossings and Sextant he entered synthesized spheres only Sun Ra had dared before. He’s said his early adoption of multiple keyboards and processors was informed by his college studies of electrical engineering.

Hancock’s understanding of jazz-funk-fusion and openness to producer Bill Laswell’s hip-hop beats, and most recently his song collections with casts of famed singers, have kept him in the public eye. So have his mid ’80s PBS/BBC video show Rockschool, his movie work (Blow Up, Death Wish, Round Midnight), his chairmanship of the Thelonious Monk Institute of Jazz, his sponsorship of emerging talent like guitarist Lionel Loueke and trumpeter Ambrose Akinmusire. Wynton Marsalis first recorded for Columbia Records in Herbie Hancock’s band.

I dig Hancock’s lesser-known Village Life, a duet with Senegalese griot Foday Musa Suso, and recommend Gershwin’s World and River. His current album, The Imagine Project, is ultra multikulti, with collaborators Dave Matthews, Céu, Pink, John Legend, The Chieftains, Los Lobos, Tinariwen, K’Naan, Anoushka Shankar. It appeals to a different crowd than that to which the pianist played on his just concluded European tour featuring tenor saxist Shorter and bassist Marcus Miller, Davis’s late-career electric bassist and producer.

In September Hancock has several California dates with his his piano-guitar-bass-drums quartet, and in November he’s scheduled three Pacific Northwest performances with orchestras of George Gershwin’s Rhapsody In Blue. He is also the current “creative chair for jazz” of the Los Angeles Philharmonic. His activities as a UNESCO goodwill ambassador are not yet posted. Presumably he’ll keep doing what he’s been doing, even more selflessly and world-wide.

howardmandel.com

Subscribe by Email or RSS
All JBJ posts

to

Read more: http://www.vancouversun.com/entertainment/Herbie+Hancock+promote+jazz+ambassador/5149545/story.html#ixzz1T7ljT2bY

Free funk electric bassist gets $60k Pew Fellowship

Jamaaladeen Tacuma – photo supplied by artist, no copyright infringement intended

Jamaaladeen Tacuma, free-funk electric bass virtuoso, protege of Ornette Coleman and one of the dancingest musicians on the planet, has been named one of 12 Philadelphia artists receiving $60,000 fellowships from the Pew Center for Arts and Heritage. Two other musicians are also 2011 Pew fellows: electronic music improviser Charles Cohen and exploratory folk/rock/goth guitarist Chris Forsyth.

The Pew’s level of financial support is comparable to the Herb Alpert Award ($75k) though not as much as the MacArthur Fellows Program ($500k over five years), more than a Guggenheim Fellowship (reportedly averaging around $43k in 2008) and more than the National Endowment for the Art’s Jazz Masters each receive as lifetime achievement prizes ($25k).

While Alperts, MacArthurs, Guggenheims and foreign prizes such as Denmark’s JazzPar (discontinued in 1984) have in recent years been bestowed on assertively experimental, innovative and avant-garde improvisers — and Tacuma can stand as an equal among them — he is still a surprising grant recipient. On the face of things, a 55-year-old electric bassist with the verve to get people on their feet might seem too “pop” for foundation money. However, Forsyth and Cohen are uncommon award winners, too. Pew fellows do not apply but are selected through a nomination process.

Tacuma’s latest album demonstrates the breadth and depth of his interests: For The Love of Ornette is self-produced, only available through the artist’s own means of distribution and fun to listen to, dramatic and varied, but far from the formulas of pop music. Ornette is (of course) Ornette Coleman, the internationally acclaimed American iconoclast, mentor/inspiration to Tacuma (among legions of others), subject of a suite on the album and featured throughout the album playing alto saxophone. He is the very prophet of “free jazz.”

“Fellas, can you hear me?” Coleman says to Tacuma’s ensemble of seven, opening the title track of Tacuma’s album. “Forget the note and get to the idea.” That’s a characteristic dictum of the “harmolodic” world-view Coleman has pro-offered and Tacuma has practiced some 35 years, since the relentless “freely” improvised electronic funk rave-up Dancing In Your Head, released in 1977. There are other worthy contributors to For the Love of. . . including Tony Kofi on tenor saxophone, Wolfgang Puschnig on flute and the double-reed hojak, and Yoichi Uzeki playing piano, Coleman’s concept dominates this album.

What “free” means in this context is that music isn’t ruled by rules — categories, conventions, constraints — but is foremost an expression an individual’s personal views and truths, in conjunction, usually, with other individuals’ equally unique statements. Furthermore: All those individuals (participatory listeners included) can come together through collective improvisation.

Jamaaladeen Tacuma talks about himself

The logical basis of harmolodics is often doubted by musicians trained in Western classical style, though its precepts as articulated by Coleman uncover zen-like wisdom in allusion and contradiction, and would appear to be applicable across many performing arts. Tacuma may have an inherent inclination to realize harmony, melody and motion as inseparable elements of lively musical self-expression — Coleman took him as a harmolodic natural when they first met, and relied upon him for his electrically-infused projects from 1976 through ’87. They have not recorded together for 24 years.

In the ’80s Jamaaladeen released several albums of his own with infectious rhythms, hot licks and classical accents from winds and string sections. Readers of my book Miles Ornette Cecil – Jazz Beyond Jazz and articles over the years (even before I was managing-edited Guitar World, 1982 – 83) know of my enthusiasm for Tacuma’s bass playing and upbeat, direct immediacy. He’s one of those rare and valuable people who bring bounce to life, apparently possessed with bold, joyous engagement. He seems to have been overlooked by the jazz press and public over the past decade (perhaps because he lives in Philadelphia, heading his large family). If so, it’s the press’s fault — he’s been busy, popular at festivals in Europe, recording with an array of collaborators ranging from phenomenological atonalist Derek Bailey to black rockateer Vernon Reid, opera singer Wilhelmina Fernandez to Belgian Arabic hip-hop stylist Natacha Atlas.

Tacuma’s foundational, rubbery, striding sounds give a lift to almost every situation, and he puts himself into some odd ones, seldom sounding predictable, never dull. Here’s hoping the Pew Award gives him a bit of financial security and an extra infusion of energy he’ll pass on to the rest of us.

howardmandel.com

Subscribe by Email or RSS

All JBJ posts

Beyond music in the waters off the City

Take a night-time jazz cruise with saxophonist Avram Fefer, guitarist Joe Cohn and rhythm in New York Harbor on Wednesday nights for respite from NYC – I detail it and other unusual musical staycations for July in my new City Arts New York column. If you’ve got 10 minutes, check out my dark video of Avram and Joe’s quartet and the Statue of Liberty.

howardmandel.com

This weekend it’s into (across) the Harbor again, for an electronic music lecture/dem, car-less biking and ocean breezes on Governor’s Island. Or listening to a favorite Lovin’ Spoonful song (avec musique concrete).

eyeJAZZ report embedded

howardmandel.com

Subscribe by Email or RSS

All JBJ posts

 

House Appropriations Committee to NEA: Keep Jazz Masters

images-1.jpegThe National Endowment for the Arts has been directed by the US House Appropriations Committee in its report to Interior house.jpeg to continue the American Jazz Masters Fellowships and dump its proposed American Artists of the Year honors. The report also supports continuation of the NEA’s National Heritage Fellowships program (but not its Opera Honors) and recommends a 2012 NEA budget $19.6 million less than it got in 2011, $11.2 million below what the NEA asked for.

“The Committee does not support the budget request proposal to eliminate the National Heritage Fellowship program and the American Jazz Masters Fellowship program,” reads the report (on page 106) published July 11. It goes on:

The National Heritage Fellowship program, which was created in 1982, has celebrated over 350 cultural leaders from 49 states and five U.S. territories, focusing national attention on the keepers of America’s deep and rich cultural heritage found in communities large and small, rural and urban. Similarly, the American Jazz Masters Fellowship, also created in 1982, has bestowed appropriate national recognition on a uniquely American art form Congress has proclaimed a national treasure. Accordingly, the Committee directs the NEA to continue these popular honorific fellowships in the same manner as it has in the past.
The Committee believes the proposal to establish a separate NEA American Artist of the Year honorific award is not warranted and could be perceived as an attempt to circumvent clear, long-established congressional guidelines prohibiting direct grant funding to individual artists.

Also in the report (starting on page 105 of the pdf), the Committee asserts its support for the “longstanding collaborative relationship between the NEA and the States [Arts Agencies],” funding state partnerships with $46 million, which includes a $10 million set-aside for rural communities.

The Committee lauds the Blue Stars Museums program that gives free museum admission to “all active duty, National Guard and Reserve military personnel and their families from Memorial Day through Labor Day,” as well as what it calls “cost-effective, well-managed” initiatives with “broad geographic reach” (specifically, the Big Read, Challenge America and Shakespeare in American Communities) that extend the arts to under-served communities. Furthermore, it “views the NEA’s newest initiative — known as Our Town — as an economic development and revitalization proposal more properly aligned with the goals and objectives of the Department of Housing and Urban Development.” The report cites the Committee’s concern that Our Town funding would “gravitate states’ arts agencies to concentrate funds toward large urban centers with strong existing arts infrastructures at the expense of State Arts Agencies which are better positioned to reach underserved populations.”

While the Committee believes that the NEA is well-positioned to provide expertise to HUD and other Federal agencies on promoting the arts in large and small communities . . . as competition for Federal dollars grows, limited direct grant funding dollars with- in the NEA should be devoted to core programs with a proven record of success.”

Consequently, Our Towns gets $2 million, $3 million less than the NEA requested.

The total budget recommendation for the NEA is $135,000,000. The Committee recommends the same amount of support (and equal cuts from the 2011 budget level and the 2012 request) for the National Endowment of the Humanities. For comparison: the price of one F-35 Lightning !! fighter plane from Lockheed Martin is currently estimated at $156 million.

howardmandel.com
Subscribe by Email
Subscribe by RSS |
Follow on Twitter 
All JBJ posts

Urban Realism and Treme

David Simon – photo ©Paul Schiraldi; Clark Peters – Pinterest

“Life is glorious and vibrant and joyous at points, but it is essentially tragic. That’s not a unique David Simon perspective.” So sayeth David Simon, (pictured left; right is a Mardi Gras Indian portrayed by Clarke Peters), executive producer with Eric Overmyer of Treme, in a long interview on Salon conducted by Matt Zolar Seitz.  The HBO series about New Orleans in the wake of Hurricane Katrina, which ended its second season last Sunday night, is unique as a musical drama for its grounding of psychologically acute and entertaining characterizations in a verifiably real social context — an accomplishment attributable to Simon’s hard-boiled yet compassionate philosophy and journalistically-influenced creative practices. It’s all laid out in the interview, which also makes a strong case for the centrality of cities to the future of America.

[Read more…]

Hurray for Treme

“Do Watcha Wanna,” the season finale of Treme, had everything I watch the series for:

  • Compelling characters embodied by terrific actors;
  • plausible and suspenseful quick-cutting across and interweaving of plot strands;
  • confident command of realities afflicting post-Katrina/pre-Gulf oil spill New Orleans, and
  • the extraordinary depiction of living, breathing, hugely enjoyable music as a central factor in peoples’ lives, whether or not they’re professionally involved.

[Read more…]

Symphonic “jazz” compositions, big bands and holiday blasts

The American Composers Orchestra readings of short symphonic works by jazz-oriented composers which I wrote of in my CityArts column and posted about here are now available to hear, thanks to Lara Pelligrinelli at NPR’s A Blog Supreme. The 23rd annual BMI/New York Jazz Orchestra concert, featuring “New Works for Big Band” and the naming (not yet publicized) of the winner of the 11th Annual Charlie Parker Jazz Composition Prize. I’m looking for a third item regarding really large scale opportunities for jazz composers (and listeners), but the student competitions, festival appearances, and other emanations of a tradition which by the logic of the marketplace ought to be pretty much over are too plentiful to start to mention (ok, here’s one: Savannah’s 6th Annual Patriotic Big Band Salute on July 4 starring Jeremy Davis and the Fabulous Equinox Orchestra).

[Read more…]

Howard Mandel

I'm a Chicago-born (and after 32 years in NYC, recently repatriated) writer, editor, author, arts reporter for National Public Radio, consultant and nascent videographer -- a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, consulting on media, publishing and jazz-related issues. I'm president of the Jazz Journalists Association, a non-profit membership organization devoted to using all media to disseminate news and views about all kinds of jazz.
My books are Future Jazz (Oxford U Press, 1999) and Miles Ornette Cecil - Jazz Beyond Jazz (Routledge, 2008). I was general editor of the Illustrated Encyclopedia of Jazz and Blues (Flame Tree 2005/Billboard Books 2006). Of course I'm working on something new. . . Read More…

@JazzMandel

Tweets by @jazzbeyondjazz

More Me

I'll be speaking:

JBJ Essentials

Archives

Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license