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Jazz Beyond Jazz

Howard Mandel's Urban Improvisation

Archives for 2011

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.

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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…]

Jazz in Jordan: Yacoub Abu Ghosh explains and plays

Jazz and its evolution goes on everywhere – as bass guitarist/bandleader/composer/producer Yacoub Abu Ghosh explained and demonstrated to me in Amman, Jordan last March. Ghosh and his Stage Heroes performed at their weekly gig at Canvas Cafe Restaurant Art Lounge. His new album As Blue As The Rivers of Amman is due to drop July 2. 

 

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American Composer Orchestra: Jazz composers welcome

The American Composers Orchestra gave eight jazz-oriented composers a year to work up five minute pieces and composer-mentors to help, then staged readings conducted by George Manahan during one of the busiest weeks of the jazz summer. Read about it in my latest CityArts column.

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Harris Eisenstadt, drummer and composer, and his score for “Palimpset” – photo courtesy of ACO. Columbia University’s Center for Jazz Studies partnered on this project. 

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New NEA Jazz Masters: A classy last class

The National Endowment for the Arts’s final designated Jazz Masters are all worthy: drummer Jack DeJohnette, saxophonist Von Freeman, bassist Charlie Haden, singer Sheila Jordan and trumpeter-educator-organizer-gadfly Jimmy Owens have had long and profoundly influential if not broadly celebrated or financially rewarded creative careers. So much the worse that this 30 year program highlighting genuine American artistic heroes has been zeroed out in the 2012 budget, to be replaced by proposed “American Artist of the Years Awards” that will toss jazz musicians into a mix including every kind of artist working in the performing arts (defined as dance, music, opera, musical theater and theater), with a de-emphasis on long-demonstrated artistry (I’ve blogged about this in detail previously). 

The Jazz Masters announcement was made in conjunction with announcements of new NEA National Heritage Fellowships and NEA Opera Honors recipients; both those programs have also been eliminated in the NEA’s 2012 budget.

[Read more…]

More on Scott-Heron — artist in the American tradition

I turned to the recordings of Gil Scott-Heron after writing that he should have and did known better than to abuse drugs as he did, leading to his decline and demise. They make me ever more impressed with his scope and intensity, in both long ago and recent work. His 2010 recording “Me and the Devil” fully justifies the black and white zombie pulp of the video by Coodie and Chike that accompanies it. It’s a horror song of a burned out, psychotic soul, a new link in an American tradition running from Edgar Allan Poe through Robert Johnson and Howlin’ Wolf to Jim Thompson, George Romero and Martin Scorsese.  [Read more…]

Gil Scott-Heron, hard-eyed realist, dead of self-inflicted escapism

Gil Scott-Heron, dead at age 62, was a poet, prophet and spokesperson of the black urban American experience. A merciless and unsentimental truth-teller when he emerged on the scene in the ’70s, by telling Afro-identified kids dancing to Motown and grooving on psychedelic rock that “the revolution will not be televised” he meant that the real revolution in Civil Rights and human conduct was not a show, that those who wanted to make it happen or enjoy its results had to liberate themselves from sitting on the couch zoning out, that there was dirty work ahead.


I heard him in 1970 at Colgate University on a bill with the Last Poets — one reason why the rise of poetry slams and rap didn’t seem like anything new to me when they came along a decade later. I didn’t listen to him much, but I heard and mostly respected what he had to say — and anyway, Scott-Heron’s message wasn’t aimed at me. I admire that he reached his target audience, without compromising his vision.

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Celebrating jazz excellence — Awards, honors and privileges

The NEA zeroes out its Jazz Masters program, the Grammys cuts categories so pop best-sellers regain prominence vis a vis less obviously commercial stars, but the Jazz Journalists Association’s 15th annual Jazz Awards — to be held June 11, 2011 with an afternoon gala with all star music at City Winery, NYC, satellite parties hosted by prominent fans and grass roots organizations around the U.S. and streaming live video on the web at www.JJAJazzAwards.org — hails loud and clear the achievements of the jazz music and media makers. (See that website for a list of all the nominees).   

maria schneider &.jpeg

Pianist Randy Weston, trumpeter Wallace Roney’s Sextet, soprano sax/flutist Jane Bunnett with pianist Hilario Duran, and the Hammer Klavier Trio from Hamburg will play up a storm at the gala to further demonstrate the power and beauty of what we’re talking about. This photo of orchestra leader Maria Schneider the year she won four Jazz Awards shows what such honors can mean to a musician.

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South African jazz hero Zim Nqgawana dies, age 52

Neil Tesser has written an informative post about Zim Nqgawana, the South African jazz musician who died at age 52 of a stroke May 10. Ngqawana, whose name is pronounced with a glottal “click” between the “N” and first “a,” performed at the 2007 Columbia/Harlem Festival of Global Jazz,” curated by George E. Lewis of Columbia University’s Center for Jazz Studies, Nqgawana, with his quartet, in that concert struck me as a powerful and original saxophonist and flutist, improvising with a heightened lyricism no doubt inspired by John Coltrane’s late period sound, but standing on its own. (photo by Dragan Tasic).


zim by dragan tasic.jpeg

photo ©Dragan Tasic

His music that night (and on Zimology, his one album I’ve heard) had little overt reference to the South Africa of, say, Paul Simon’s Graceland; rather, it was stately (at times as deep as that of sombre pianist Abdullah Ibrahim) and dynamic like the best of trumpeter Hugh Masekela — with whom Nqgawana had worked — but with no pop or commercial aspirations. The Mail and Guardian Online headlines Nqgawana as a “genius,” which is a tricky term, but I have admired and can recommend his music, and be sorry that he’ll play no more. (PS and full disclosure: The Columbia/Harlem Fest also hosted the first and so far only convention of international jazz journalists in the U.S.” “Jazz in the Global Imagination,” co-produced by the Jazz Journalists Association, of which I’m pres. . .)
 

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CityArts New York June jazz fests bustin’ out-all-over supplement

CityArts New York let me play jazz supplement editor. Read my lead feature on upcoming in June the NYC Blue Note Jazz Festival, UnDead Festival, gigs everywhere and more respect! 
Also Kurt Gottschalk on the Vision Festival’s backstory, David Adler on three successful, smart, younger jazzers, snapshots of Brazilian drummer Adriano Santos, Korean singer (of Portuguese  Yeahwon Shin and soul-tinged singer songwriter Laura Cheadle by Ernest Barteldes, and the big band w/classical Asian instruments Project Hansori led by Jeff Fairbanks, by Emilie Pons. 

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Steve Reich @ Carnegie Hall @ 75, with devotees

steve reich.jpeg

Steve Reich, courtesy of the artist

Composer Steve Reich, age 75, knows secrets of correlating pulsating rhythms and interlocking layers of sycopated melodic patterns which he’s eager to reveal in every work he writes. His musical signature is so unwavering it might veer into self-parody, but for the vigor and commitment of his performers. At Carnegie Hall last night four energized new music ensembles poured enthusiasm, precision and a sense of discovery into four recent Reich pieces, making their Master’s overlays, cycles and cells variously delightful, ominous, rockin’, tense, melodramatic and exotic. Reich writes music that’s both reassuring and subversive, and his 75th birthday concert at Carnegie Hall provided both in delicate yet confident balance.

Reich’s music is distinctive, certainly, unlike that of any of the other composers around his age he’s been linked to for their common use of repetition, or seeming repetition,and consonant harmonies (as opposed to that old atonal or 12-tone stuff). Mallet Quartet (2008) played by So Percussion, WTC 9/11 (a commissioned debut) by Kronos Quartet, 2×5 performed by Bang on a Can Allstars and Friends and Double Sextet with eighth blackbird joining the Allstars may not be  Reich’s deepest or most ambitious pieces, but they provide pleasures, live in the moment and make the moment live — not easy things however smoothly the music goes down, and what we hope for from all music, though in contemporary composition we (the editorial “we”) are often disappointed.

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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…

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