{"id":229,"date":"2009-08-06T12:36:11","date_gmt":"2009-08-06T16:36:11","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/2009\/08\/meet_the_composer_grants_-_no\/"},"modified":"2011-04-28T16:33:42","modified_gmt":"2011-04-28T20:33:42","slug":"meet_the_composer_grants_-_no","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/08\/meet_the_composer_grants_-_no.html","title":{"rendered":"Meet the Composer grants — not for improvisers"},"content":{"rendered":"

Pursuant to online debates about whether grants and fellowships are good for jazz — here’s<\/a>\u00c2\u00a0a report on the non-profit\u00c2\u00a0Meet the Composer<\/a>‘s choice of 31 recipients for $300,000 towards realization of commissions. Only one jazz-related project among them: composer-guitarist Joel Harrison<\/a>, commissioned by the Brooklyn-based organization Connection Works<\/a>, to write for a large ensemble. However, three principals of the new music collect\u00c2\u00a0Bang on a Can<\/a>, as well as celebrated veteran composers\u00c2\u00a0Meredith Monk<\/a>\u00c2\u00a0and Steve Reich<\/a>, and the music theater artist Stew<\/a> (“Passing Strange,” Spike Lee’s movie of which is scheduled for mid-August release) are grants winners.<\/p>\n


\nIf it’s not so good when jazz artists vie for grants (the contention<\/a> is they’re required to look past their true jazz instincts to conceive application-suitable projects), how do we like it when they’re almost completely out of the running?<\/p>\n

<\/div>\n
\u00c2\u00a0howardmandel.com<\/a>
\nSubscribe by Email <\/a> |
\nSubscribe by RSS<\/a> |
\nFollow on Twitter <\/a>
\n All JBJ posts <\/a> |
\n