{"id":1655,"date":"2014-06-26T10:50:54","date_gmt":"2014-06-26T14:50:54","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1655"},"modified":"2019-09-12T15:52:15","modified_gmt":"2019-09-12T19:52:15","slug":"nea-2015-jazz-masters-who-stretched-jazz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/06\/nea-2015-jazz-masters-who-stretched-jazz.html","title":{"rendered":"NEA 2015 Jazz Masters &#8211; who stretched &#8220;jazz&#8221;"},"content":{"rendered":"<p>The National Endowment for the Arts\u00c2\u00a0<a href=\"http:\/\/arts.gov\/honors\/jazz\">Jazz Masters of 2015<\/a>, announced today, are musicians Carla Bley, George Coleman and Charles Lloyd &#8212; all personal favorites who provoked my earliest interests in jazz going beyond &#8220;jazz.&#8221; So here are listening recommendations &#8212; and\u00c2\u00a0my special shout out\u00c2\u00a0to\u00c2\u00a0Jazz Master <strong>Joe Segal<\/strong> of Chicago&#8217;s\u00c2\u00a0Jazz Showcase \u00c2\u00a0(receiving the A.B. Spellman Award for Jazz Advocacy) who let teenage me in free to\u00c2\u00a0hear real jazz to begin with: Coleman Hawkins, Eddie &#8220;Lockjaw&#8221; Davis, Jimmy Forrest, Sun Ra, Rahsaan, Mingus, great Chicagoans Wilbur Cambell, Eddie de Haas, Jodie Christian and many more, \u00c2\u00a0putting me on path &#8212; Yeah! Thanks, Joe &#8212; Thanks!)<\/p>\n<ul>\n<li><strong>Carla Bley&#8217;<\/strong>s<a href=\"http:\/\/www.amazon.com\/Closer-Paul-Bley-Trio\/dp\/B00128X6Y6\/?tag=howardmacom-20\"> songs full of\u00c2\u00a0her\u00c2\u00a0personal wit, dry humor and spare lyricism<\/a>\u00c2\u00a0were\u00c2\u00a0first recorded by her then-husband pianist Paul Bley. Her sensibility\u00c2\u00a0flowered in <a href=\"http:\/\/www.amazon.com\/Genuine-Tong-Funeral-Gary-Burton\/dp\/B000002R9E\/?tag=howardmacom-20\"><em>Genuine Tong Funeral<\/em>,<\/a>with large ensemble charts for Gary Burton\u00c2\u00a0(a likely\u00c2\u00a0future Jazz Master) and next the rousing <em><a href=\"http:\/\/www.amazon.com\/Liberation-Music-Orchestra-Charlie-Haden\/dp\/B000VRWRVC\/?tag=howardmacom-20\">Liberation Music Orchestra<\/a><\/em>, a &#8217;60s classic and cultural marker. Co-founder with her second husband Michael Mantler of the Jazz Composers Orchestra (and the very important, independent New Music Distribution Service), she wrote with librettist Paul Haines the &#8220;chronotransduction&#8221;\u00c2\u00a0<a href=\"http:\/\/http:\/\/www.amazon.com\/Escalator-Over-Hill-Chronotransduction-Haines\/dp\/B000VHPZRK\/?tag=howardmacom-20\"><em>Escalator Over the Hill<\/em>, <\/a>a masterpiece of the large, vibrant\u00c2\u00a0the late &#8217;60s and early &#8217;70s\u00c2\u00a0crossover downtown\/Woodstock music community (w\/Cherry -McLaughlin &#8211; Haden- Motian -\u00c2\u00a0\u00c2\u00a0Barbieri &#8211; Karl Berger, Enrico Rava, Lin<img loading=\"lazy\" decoding=\"async\" class=\"alignright  wp-image-1660\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/escalator.jpg\" alt=\"escalator\" width=\"146\" height=\"146\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/escalator.jpg 160w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/escalator-150x150.jpg 150w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/escalator-100x100.jpg 100w\" sizes=\"auto, (max-width: 146px) 100vw, 146px\" \/>da Ronstadt,\u00c2\u00a0Jack Bruce,\u00c2\u00a0Sheila Jordan, Don\u00c2\u00a0Preston, Leroy Jenkins, et al)). Since then she&#8217;s independently produced \u00c2\u00a0many fine, quirky albums with small\u00c2\u00a0groups and large, most recently <a href=\"http:\/\/www.amazon.com\/Duets-Carla-Bley-Steve-Swallow\/dp\/B000XVT7GE\/?tag=howardmacom-20\">with bassist Steve Swallow<\/a>, her longtime companion.\u00c2\u00a0A total individual whose deadpan sophistication overlays\u00c2\u00a0much experience, ache, commitment and originality.<\/li>\n<li><strong>George Coleman<\/strong> &#8212; performing with his quartet (Geo Coleman Jr. on drums)\u00c2\u00a0Friday, June 27 at <a href=\"http:\/\/www.gjpservices.com\/Jazz---Roscoe-s-Room---June.html\">Alvin and Friends<\/a> in New Rochelle\u00c2\u00a0\u00c2\u00a0&#8212; stands tall\u00c2\u00a0a lineage of\u00c2\u00a0\u00c2\u00a0big hearted, big-toned blues-based\/progres<a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/maiden-voyage-e1403791736645.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-1661 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/maiden-voyage-e1403791736645.jpg\" alt=\"\" width=\"146\" height=\"146\" \/><\/a>sive bop sax men. But imho the\u00c2\u00a0very most memorable, melody-making improvisations he&#8217;s ever recorded are on\u00c2\u00a0Herbie Hancock&#8217;s beautiful original tunes written for\u00c2\u00a0<em>Maiden Voyage.<\/em>\u00c2\u00a0With Freddie Hubbard, Ron Carter and Tony Williams\u00c2\u00a0on the date, one might have expected Wayne Shorter &#8212; but George Coleman is just wonderful: imaginative, confident, mature, nuanced. His solos are burned in my memory.<\/li>\n<li><strong>Charles Lloyd<\/strong> has always been interested in frontiers. As Eric Dolphy&#8217;s successor <a href=\"http:\/\/www.amazon.com\/Man-Two-Worlds-Chico-Hamilton\/dp\/B001NT1SVW\/?tag=howardmacom-20\">in Chico Hamilton&#8217;s group<\/a>, he played flute as well as tenor, and his first albums in the mid &#8217;60s have an edgy feel, related to what Yusef Lateef and Sam Rivers were up to. Then came\u00c2\u00a0<em><a href=\"http:\/\/www.amazon.com\/Forest-Flower-Soundtrack-Charles-Lloyd\/dp\/B0000033CC\/?tag=howardmacom-20\">Forest Flower<\/a>,<\/em> Lloyd&#8217;s triumphant\u00c2\u00a0Monterey jazz fest performance\u00c2\u00a0with pianist Keith <a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/forrest-flower.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright  wp-image-1662\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/forrest-flower.jpg\" alt=\"forrest flower\" width=\"147\" height=\"147\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/forrest-flower.jpg 160w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/forrest-flower-150x150.jpg 150w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/forrest-flower-100x100.jpg 100w\" sizes=\"auto, (max-width: 147px) 100vw, 147px\" \/><\/a>Jarrett, bassist Cecil McBee and drummer Jack DeJohnette, that got to rock-heads (sans &#8220;jazz-jazz&#8221; compromise &#8212; but check out &#8220;<a href=\"http:\/\/www.amazon.com\/Sorcery-Live-Monterey\/dp\/B001249OQO\/?tag=howardmacom-20\">Sorcery<\/a>&#8220;!). I always liked Lloyd&#8217;s straight-forward flute rendition of John Lennon&#8217;s &#8220;<a href=\"http:\/\/www.amazon.com\/Here-There-Everywhere-Live-Version\/dp\/B00123KBN0\/?tag=howardmacom-20\">Here, There and Everywhere<\/a>&#8221; on his album <em>Love In<\/em>\u00c2\u00a0from the Fillmore West (though in truth it&#8217;s nothing special and poorly recorded) &#8212; and his visit to <a href=\"http:\/\/www.amazon.com\/Charles-Lloyd-Soviet-Union-Release\/dp\/B00124DR4Y\/?tag=howardmacom-20\">the Soviet Union <\/a>was hugely significant in promoting Eastern European jazz scenes. Lloyd continues to create adventurous, evocative music, finding highly creative collaborators including pianists <a href=\"http:\/\/www.amazon.com\/Hagars-Charles-Lloyd-Jason-Moran\/dp\/B00BG990SM\/?tag=howardmacom-20\">Jason Moran<\/a>, tablaist <a href=\"http:\/\/www.amazon.com\/Sangam-Lloyd\/dp\/B000EGCE9U\/?tag=howardmacom-20\">Zakir Hussain<\/a> and drummer Eric Harland.<\/li>\n<\/ul>\n<p>The music I&#8217;m suggesting here is 50 years old! But timeless. Bley, Coleman and Lloyd remain\u00c2\u00a0active, their inspirations and abilities hardly\u00c2\u00a0dimmed. Congrats on the official recognition and much appreciation\u00c2\u00a0to them for the enduring gifts they&#8217;ve given &#8212; they are truly jazz masters.<\/p>\n<p><a href=\"http:\/\/www.howardmandel.com\" target=\"blank\" rel=\"noopener noreferrer\">howardmandel.com<\/a><\/p>\n<p><a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe by Email or RSS<\/a><\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" rel=\"noopener noreferrer\"> All JBJ posts <\/a><\/p>\n<p><script src=\"http:\/\/w.sharethis.com\/widget\/?tabs=web%2Cpost%2Cemail&amp;charset=utf-8&amp;style=default&amp;publisher=6ed88875-2235-4b29-aaa3-60183b0bcbcc\" type=\"mce-text\/javascript\"><\/script><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The National Endowment for the Arts\u00c2\u00a0Jazz Masters of 2015, announced today, are musicians Carla Bley, George Coleman and Charles Lloyd &#8212; all personal favorites who provoked my earliest interests in jazz going beyond &#8220;jazz.&#8221; So here are listening recommendations &#8212; and\u00c2\u00a0my special shout out\u00c2\u00a0to\u00c2\u00a0Jazz Master Joe Segal of Chicago&#8217;s\u00c2\u00a0Jazz Showcase \u00c2\u00a0(receiving the A.B. Spellman Award [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1659,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":{"0":"post-1655","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/joe-segal.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-qH","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":748,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/01\/nea-jazz-masters-concert-webcast-program-to-continue.html","url_meta":{"origin":1655,"position":0},"title":"NEA Jazz Masters concert webcast, program to continue","author":"Howard Mandel","date":"January 9, 2012","format":false,"excerpt":"The National Endowment of the Arts, formally inducting its 30th class of \u00c2\u00a0\"Jazz Masters\" with a concert at Jazz at Lincoln Center January 10 2012 that is being webcast live\u00c2\u00a0on\u00c2\u00a0WBGO Jazz 88.3FM\u00c2\u00a0 and\u00c2\u00a0SiriusXM Satellite Radio's Real Jazz Channel XM67, (starting at 7:30 pm ET) has announced that Jazz Masters will\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/01\/neajazzmasters-150x150.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1818,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/04\/ann-meier-baker-nea-director-of-music-and-opera-on-her-new-job-and-nea-jazz-masters.html","url_meta":{"origin":1655,"position":1},"title":"Ann Meier Baker, NEA director of Music and Opera, on her new job and NEA Jazz Masters","author":"Howard Mandel","date":"April 14, 2015","format":false,"excerpt":"I'm pleased to have interviewed Ann Meier Baker, who was appointed last October as the National Endowment for the Arts' director of Music and Opera \u00e2\u20ac\u201c a position that includes responsibilities for the U.S.'s federal support of jazz, such as the induction of NEA Jazz Masters, celebrated with a live-streamed\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"ann","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/04\/ann.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":403,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/06\/new_nea_jazz_masters_a_classy.html","url_meta":{"origin":1655,"position":2},"title":"New NEA Jazz Masters: A classy last class","author":"Howard Mandel","date":"June 24, 2011","format":false,"excerpt":"The National Endowment for the Arts's final designated Jazz Masters are all worthy: drummer Jack DeJohnette,\u00a0saxophonist Von Freeman,\u00a0bassist 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\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":301,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/03\/breadth-of-jazz_radio_wkcr_fet.html","url_meta":{"origin":1655,"position":3},"title":"Breadth-of-jazz radio WKCR fetes Ornette, Bix","author":"Howard Mandel","date":"March 3, 2010","format":false,"excerpt":"Next week WKCR-FM 89.9 www.wkcr.org, promises all-day music of Ornette Coleman and Bix Beiderbecke, linking the \"free jazz\" iconoclast (turning 80 Mar 9) to the Roaring '20s jazz-mad kid cornetist\/pianist (who would be 107 on March 10, if he hadn't drunk himself to death at age 28 in 1931). Mark\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"Thumbnail image for Thumbnail image for ornette himmel small.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/assets_c\/2010\/03\/ornette%20himmel%20small-thumb-200x300-13696-thumb-240x360-13697.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2107,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2016\/09\/chi-jazz-fest-2016-details-in-photos-and-words.html","url_meta":{"origin":1655,"position":4},"title":"Chi jazz fest 2016, details in photos and words","author":"Howard Mandel","date":"September 14, 2016","format":false,"excerpt":"My DownBeat overview of the 38th annual Chicago Jazz Festival, comprehensive as I could make it, didn't\u00c2\u00a0go into depth on any of the couple dozen performances I heard from Sept 1 through 4 in downtown Millennium Park and the Cultural\u00c2\u00a0Center.\u00c2\u00a0So here, with imagery by my photojournalist colleagues\u00c2\u00a0and friends Marc PoKempner\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":762,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/01\/who-should-the-next-nea-jazz-masters-be.html","url_meta":{"origin":1655,"position":5},"title":"Who should the next NEA Jazz Masters be?","author":"Howard Mandel","date":"January 11, 2012","format":false,"excerpt":"Who should be the next NEA Jazz Masters? With last night's triumphant and deeply moving webcast of the NEA's 2012 Jazz Masters induction ceremonies came welcome news the annual fellowships for these major American artists will continue -- at least the financial awards of $25,000 per Master. More significant to\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/01\/2012-jazz-masters.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1655","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1655"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1655\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/1659"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1655"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1655"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1655"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}