heeding the wake up call

Can arts journalism -- can arts, can journalism--adapt to changing technologies, new media, and a multi-tasking, screen-oriented, thumb-typing audience without losing its way, killing its aesthetic and going broke?

Can very smart professionals get together and discuss this issue via YouTube, Twitter and a brand-new website?

Can 10 new initiatives find success with help from nonprofit seed funding?

For the answers to these and other questions--and to contribute to the conversation--tune in:

A National Summit on Arts Journalism 

TODAY: October 2, 2009 at 9AM PDT.


At a time when both the art and business of arts journalism are undergoing transformative change, A The National Summit on Arts Journalism is being convened to explore some of that change - on Friday, The Summit will present a range of ideas and projects representing current thinking in covering the arts. Five projects were selected in an open call this summer that attracted 109 submissions. Five additional projects will be presented representing broad trends in the field of journalism. Presentations will be made in front of a live audience, streamed over the internet and archived on this website.

The Summit will also include two roundtable discussions about the art and business of arts journalism. The online audience will be invited to comment and ask questions during the Summit using Twitter and chat features.

The live webcast will be found here at najp.org/summit on October 2, 2009, from 9AM-1PM PDT.

A National Summit on Arts Journalism is a project of USC Annenberg School for Communication and the National Arts Journalism Program. It is made possible with the generous support of the William and Flora Hewlett Foundation, the Andrew J. Mellon Foundation, the University of Southern California and the National Endowment for the Arts.

October 2, 2009 9:54 AM | | Comments (0)

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Evan Christopher Django à la Créole (Lejazzetal) 

Clarinetist Evan Christopher, a California native, moved to New Orleans in 1994. In his frequent duets with Tom McDermott, and as a standout member of trumpeter Irvin Mayfield's New Orleans Jazz Orchestra, his erudite and personalized approach to traditional jazz commands attention.

Dr. Michael White Blue Crescent (Basin Street) 

Long before the floods that devastated his city, clarinetist Michael White wrestled with the challenge of preserving New Orleans traditional jazz without embalming it. He sought to write tunes built on time-honored local forms that spoke to the here-and-now. But Dr. White struggled to compose anything at all during the past three years--until late 2007, when original music began pouring forth.

 
Dee Dee Bridgewater
Red Earth: A Malian Journey (DDB Records/Emarcy/Universal) Despite her place in the top rank of American jazz vocalists and her crossover success, Dee Dee Bridgewater has often felt displaced. "I'm always trying to fit in somewhere," she once told me. This new disc, which finds Ms. Bridgewater and her band in collaboration with a cast of Malian musicians and singers, is no further pose:
David Murray Black Saint Quartet featuring Cassandra Wilson Sacred Ground (Justin Time) 
Long among the strongest, most adventurous reedmen in jazz,
Joe Zawinul Brown Street (Heads Up) 
The list of great Viennese composers must include Zawinul--same for the honor roll of jazz innovators.
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