Results tagged “National Endowment for the Arts” from Jazz Beyond Jazz

Biographer of H L. Mencken and (coming soon) Louis Armstrong, ArtsJournal blogger and scribe for the Wall Street Journal Terry Teachout has raised a fuss by pointing to the National Endowment for the Artsstudy citing declines in jazz audiences from 2002 to 2008 (and indeed from 1982 to 2008). That this data was released in June and been reported on earlier, elsewhere, (like at Jazz.com by editor Ted Gioia) without getting much attention suggests either the broad reach and high profile of Murdock-owned media or it's August and a writer getting outraged about ho-hum "news" can stir otherwise becalmed straits. 

But seriously: Mr. Teachout has stumbled into a very old trap, forecasting the death of jazz.
August 9, 2009 11:36 AM | | Comments (15)
Dean of post-jazz Muhal Richard Abrams,  doyenne of vocalese Annie Ross and George Avakian, who invented jazz albums and reissues, popularized the LP and live recording, are among eight 2010 Jazz Masters named today by the National Endowment of the Arts. New York-based pianists Kenny Barron and Cedar Walton, exploratory reedist Yusef Lateef, big band composer-arranger Bill Holman and vibist Bobby Hutcherson complete the list of the NEA's new honorees, who receive $25,000 grants and significant honors starting next January with ceremonies and a concert at Jazz at Lincoln Center.

Founded in 1982, the Jazz Masters program has recognized American musicians (and since 2004, non-musician "jazz advocates") for career-long achievement and pre-eminence and influence. This year's fellows are highly regarded professionals who have been productive, hailed by critics and love by aficionados for decades, if seldom visited by huge commercial success or mainstream fame. The relative exception is Ms. Ross, who has cut a fashionable figure since her emergence in the late 1950s (as in this clip singing her signature song "Twisted," later covered by Joni Mitchell) and participation in the vocal trio Lambert, Hendricks and Ross. Her acting career includes a starring role as a saloon singer in Robert Altman's film Short Cuts (based on stories by Raymond Carver).
May 21, 2009 12:25 PM | | Comments (0)
The National Endowment of the Arts' first program of the Obama "Recovery Act" focuses on the preservation of jobs in the arts. But it upholds an adage quoted by Billie Holiday in "God Bless the Child": "Them that's got shall get." Applicants must be organizations that have received NEA grants during the immediately prior four years (since 2006). The NEA's announcement is crystal clear:

[R]ecogniz[ing] that the nonprofit arts industry is an important sector of the economy the Arts Endowment has designed a plan to expedite distribution of critical funds for the national, regional, state, and local levels for projects that focus on the preservation of jobs in the arts. . . This program will be carried out through one-time grants to eligible nonprofit organizations. . . All applicants must be previous NEA award recipients from the past four years. . . 

This decision is understandable enough; the NEA may want to ensure that organizations it has supported already aren't going to fold, rendering its previous assistance irrelevant, and if it wants to put money to work quickly, organizations that have already been vetted in the grants-awarding process are surer bets than those organizations needing to be scrutinized from scratch. Nor do I carry any brief against the NEA's actions during the second term of President George W. Bush -- NEA Chairman Dana Gioia was one of the most successful leaders of the Endowment in its distinguished history, turning around Congressional hostility that somehow surfaced during the term of President George H.W. Bush, managing against inestimable odds to promote literacy, Shakespeare, arts journalism and, yes, jazz

But from the point of view of a mostly volunteer administrator of a non-profit arts organization that after 20 years of self-supporting activities is just now making its first bid for grant funding to the NEA (the Jazz Journalists Association, of which I'm president, is applying this month for $s to produce a major conference on jazz journalism early in 2010) it's disconcerting that as far as salaries for hard-pressed non-profits go, newcomers may not apply. Maybe the NEA's next initiative could encourage new groups and new arts jobs? Wouldn't that empower change? And disprove the second line of Billie's "God Bless the Child" couplet: "Them thats not shall lose"?

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March 4, 2009 1:03 PM | | Comments (1)
The National Endowment of the Arts panel determining recipients of the annual Jazz Masters Fellowships is a small one. In the interest of transparency, the NEA has supplied the names of panelists who chose the class of '09. It comprises five previously named Fellows, one "layperson," one independent record producer, and two longtime jazz adminstrator-activists (who both happen to be honorees of the Jazz Journalists Association's "A Team").

Of course, if John McCain becomes president, it's all moot (as Lee Rosenbaum reports, the GOP has no arts policy in its platform, and I remember writing to McCain during the 1980s objecting to his desire to de-fund the NEA). He's clearly no jazz candidate -- whereas Barack Obama spoke at the site of the Detroit Jazz Festival, on Labor Day, and San Francisco musicians are lining up behind him with a fundraising jam in San Francisco, October 13.

But that's another posting: back to the NEA panelists -- 
September 5, 2008 10:18 AM | | Comments (1)

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Howard Mandel HM2.for%20web.jpg I'm a Chicago-born and New York-based writer, editor, author, arts producer for National Public Radio -- for more than 30 years, a freelance arts journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere. I'm president of the Jazz Journalists Association. more

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