{"id":205,"date":"2009-06-11T14:44:19","date_gmt":"2009-06-11T18:44:19","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/2009\/06\/tina_marsh_singer-composer-com\/"},"modified":"2011-04-28T16:34:03","modified_gmt":"2011-04-28T20:34:03","slug":"tina_marsh_singer-composer-com","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/06\/tina_marsh_singer-composer-com.html","title":{"rendered":"Tina Marsh, Austin&#8217;s avant-jazz leader, gravely ill"},"content":{"rendered":"<div>The founder of the\u00c2\u00a0<a href=\"http:\/\/www.creop.org\/about.html\">Creative Opportunity Orchestra<\/a>, a musicans&#8217; cooperative of composer-improvisers on the model of Chicago&#8217;s AACM, is suffering late stage breast cancer. <a href=\"http:\/\/www.myspace.com\/tinamarshcreop\">Beautiful Tina Marsh<\/a>, age 55, whose disease was successfully treated in the &#8217;90s but recurred in 2008, is resting in a private home, with friends close by.<\/div>\n<div><\/div>\n<div>A pure-voiced vocalist who employs extended techniques in dramatic <a href=\"http:\/\/www.amazon.com\/Inside-Breaking-songs-standards-Ornette\/dp\/B000N6UF7Y\/?tag=howardmacom-20\">interpretations of songs <\/a>such as Ornette Coleman&#8217;s &#8220;Lonely Woman&#8221; with brilliant control for deep affect but who has also conducted a wild &#8216;n&#8217; wooly ensemble through open structures to fine result and been described as singing &#8220;scat to the highest power,&#8221; Tina has been a community-sensitive artist-activist in her adopted hometown for nearly 30 years. Having worked in musical theater on the east coast in the &#8217;70s, she attended the Creative Music Studio in Woodstock in 1980, and upon returning to Austin organized CO2 from the core of her first band, the New Visions Ensemble. Since then more than 200 musicians have participated in CO2 under her direction.\u00c2\u00a0<\/div>\n<div><\/div>\n<p><!--more--><br \/>\nBesides recording five albums under her own name (and appearing on saxophonist <a href=\"http:\/\/cdbaby.com\/cd\/cokealex08\">Alex Coke<\/a>&#8216;s recordings, too), Tina initiated &#8220;Circle of Light,&#8221; a multi-denominational winter holiday artistic celebration (see a trailer of a film about it <a href=\"http:\/\/www.youtube.com\/watch?v=nxHE_-7sGkk\">here<\/a>) in 2000. The CO2 recently completed 10 years at Becker Elementary school, described as being &#8220;disadvantaged,&#8221; where she was Artist-in-Education. She was inducted\u00c2\u00a0into the Texas Music Hall of Fame in 2001\u00c2\u00a0and the Austin Artists Hall of Fame in 2008 and her projects have been supported by the National Endowment for the Arts and Chamber Music America, among other funders, but she has received woefully inadequate press attention outside her immediate locale &#8212; much less than her music deserves, as it is always warm, penetrating or provocative, and satisfying.<\/p>\n<div><\/div>\n<div><a href=\"http:\/\/www.youtube.com\/watch?v=kVgfViITeAI\">This<\/a>\u00c2\u00a0video clip of Tina singing &#8220;Love Look Away&#8221; is from a performance with pianist Eddy Hobizal and cellist Terry Muir, just last January. Funds for her health care expenses or cards and notes can be sent to Tina at\u00c2\u00a0<span class=\"Apple-style-span\" style=\"color: rgb(34, 34, 34); font-family: verdana; font-size: 11px; \">PO Box 3215\/<span class=\"Apple-style-span\" style=\"color: rgb(51, 51, 51); font-family: arial; font-size: 13px; \"><span class=\"Apple-style-span\" style=\"color: rgb(34, 34, 34); font-family: verdana; font-size: 11px; \">Austin, TX 78764.<\/span><\/span><\/span><\/div>\n<div><\/div>\n<div><\/div>\n<p><object width=\"480\" height=\"385\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/kVgfViITeAI&amp;hl=en&amp;fs=1&amp;\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><\/object><\/p>\n<div><\/div>\n<div><\/div>\n<p><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\">howardmandel.com<\/a> <br \/>\n<a href=\"http:\/\/www.feedburner.com\/fb\/a\/emailverifySubmit?feedId=1102712&amp;loc=en_US\" target=\"_blank\">Subscribe by Email <\/a>  |<br \/>\n<a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\">Subscribe by  RSS<\/a> |<br \/>\n<a href=\"http:\/\/twitter.com\/jazzbeyondjazz\" target=\"_blank\">Follow on Twitter <\/a><br \/>\n<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\"> All JBJ posts <\/a> |<br \/>\n<script type=\"text\/javascript\" src=\"http:\/\/w.sharethis.com\/widget\/?tabs=web%2Cpost%2Cemail&amp;charset=utf-8&amp;style=default&amp;publisher=6ed88875-2235-4b29-aaa3-60183b0bcbcc\"><\/script> <\/p>\n","protected":false},"excerpt":{"rendered":"<p>The founder of the\u00c2\u00a0Creative Opportunity Orchestra, a musicans&#8217; cooperative of composer-improvisers on the model of Chicago&#8217;s AACM, is suffering late stage breast cancer. Beautiful Tina Marsh, age 55, whose disease was successfully treated in the &#8217;90s but recurred in 2008, is resting in a private home, with friends close by. A pure-voiced vocalist who employs [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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":[326,325,324,323],"class_list":{"0":"post-205","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"tag-austin-avant-garde-jazz","8":"tag-co2","9":"tag-creative-opportunity-orchestra","10":"tag-tina-marsh","11":"entry"},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-3j","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":208,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/06\/happy_and_sad_news_updates.html","url_meta":{"origin":205,"position":0},"title":"Happy and sad news updates","author":"Howard Mandel","date":"June 18, 2009","format":false,"excerpt":"Jazz Beyond Jazz was named Blog of the Year by the Jazz Journalists Association at the Jazz Awards on Tuesday -- and Tina Marsh, driving force of Austin creative music, died that day, too.I'm immersed in follow-up on both these and related issues, but details and new posts are guaranteed.\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"EnidFarberFoto_20090616_dsc_6217.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/EnidFarberFoto_20090616_dsc_6217.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/EnidFarberFoto_20090616_dsc_6217.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/EnidFarberFoto_20090616_dsc_6217.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/EnidFarberFoto_20090616_dsc_6217.jpg?resize=700%2C400 2x"},"classes":[]},{"id":128,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/10\/festive_jazzy_time_of_the_year.html","url_meta":{"origin":205,"position":1},"title":"Jazz time-out of the year?","author":"Howard Mandel","date":"October 1, 2008","format":false,"excerpt":"A major international jazz festival right now in Washington D.C.? How odd: Is it the End of Times? Are we fiddlin' while Rome burns? Or could it be a new beginning?\u00c2\u00a0Ignore the credit crisis, the vp debates, end-game positioning by the One and the Other, Rosh Hashanah and Eid, Cubs\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":332,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/08\/much_ado_about_jazz_legacy_ign.html","url_meta":{"origin":205,"position":2},"title":"Jazz discoveries abound! Soundscape, Creative Music Studio, Varese","author":"Howard Mandel","date":"August 23, 2010","format":false,"excerpt":"Amazing, historic, never-before-public recordings from an under-documented, under-appreciated but highly developmental era of jazz and new music comes to light! Complete sets and interviews from the international stars who gave birth to world jazz and downtown improv at the Manhattan arts loft Soundscape will be broadcast by\u00c2\u00a0WKCR-FM\u00c2\u00a0\u00c2\u00a0and archived online starting\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"varese.jpeg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/varese.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":78,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/02\/rivers_win_bad_for_jazz.html","url_meta":{"origin":205,"position":3},"title":"Rivers&#8217; win: Bad for jazz?","author":"Howard Mandel","date":"February 12, 2008","format":false,"excerpt":"Listeners who like their music strong, fresh, mysterious, challenging might share pride in pianist Herbie Hancock's Grammy Award for River: The Joni Letters -- but some snipe it celebrates moderation more than creativity. What's your take? I voted \"Yea!\" back last October when River was released, writing \"The music is\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":190,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/05\/lifes_a_pitch_where_are_the_wo.html","url_meta":{"origin":205,"position":4},"title":"Life&#8217;s a pitch: Where are the women jazz listeners?","author":"Howard Mandel","date":"May 12, 2009","format":false,"excerpt":"Amanda Ameer, blogger behind artjournal's Life's a Pitch, was bummed by the low number of women at pianist Brad Mehldau's recent Village Vanguard performance (but glad about the audience's wide age-spread). She cites jazz women instrumentalists as being rare, too. What's up with this, she wants to know. Send her\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":1327,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/04\/jazz-composers-the-buffalo-philharmonic-orch-jazzapril-week-4.html","url_meta":{"origin":205,"position":5},"title":"Jazz composers @ the Buffalo Philharmonic Orch &#8211; JazzApril week 4","author":"Howard Mandel","date":"April 26, 2013","format":false,"excerpt":"Five jazz-associated composers took on the heady task of writing eight-minute works for full symphonic forces, introduced to the Buffalo Philharmonic Orchestra and worked up for performance by conductor Matt Kraemer on Tuesday and Wednesday this past week, thanks to\u00c2\u00a0Earshot \/Jazz Composers Orchestra Initiative, organized by American Composers Orchestra. As\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"4 of 5","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/04\/4-of-5-300x225.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/205","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=205"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/205\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=205"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=205"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}