The National Jazz Museum in Harlem104 East 126th Street, #2C, New York, NY 10035, http://www.jmih.org/
Tuesday, November 16, 2010
Jazz for Curious ListenersSavory Collection Part 2: Count Basie – 1930s 7:00 – 8:30pm
Location: NJMH Visitors Center, (104 E. 126th Street, Suite 2C)
The Savory Collection may well redefine the critical view of jazz in the late 1930s. Dan Morgenstern, Director of the Institute of Jazz Studies, provides proof of this claim in the New York Times by "citing the case of Herschel Evans, a saxophonist who played in the Count Basie Orchestra but who died early in 1939, just before his 30th birthday. Evans played alongside Lester Young, who was one of the giants of the saxophone and constantly overshadowed Evans on the Basie group’s studio recordings.
“There can never be too much Lester Young, and there is some wonderful new Lester Young on these discs,” Mr. Morgenstern said. “But there are also some things where you can really hear Herschel, who is woefully under-represented on record and who, until now, we hardly ever got to hear stretched out. What I’ve heard really gives us a much better picture of what he was all about.”
Friday, November 19, 2010 Harlem in the HimalayasMeg Okura / Pan Asian Chamber Jazz Ensemble 7:00pm
Location: Rubin Museum of Art, (150 West 17th Street)
Meg Okura is “the queen of chamber jazz,” says Dan Bilawsky in All About Jazz. In her Pan Asian Chamber Jazz Ensemble, Okura skillfully balances her roles as violin virtuoso, prolific composer, and master erhu player. Comprised of a group of young virtuosi, the Pan Asian Chamber Jazz Ensemble brilliantly weaves together jazz, classical, and traditional Japanese music to create their own unique blend of world-chamber jazz. They have been hailed by the New York Times as “vibrant” and “sophisticated.” See and hear why this evening in the intimate setting of the acoustically rich theater at the Rubin Museum of Art.
Saturday, November 20, 2010 Saturday PanelsSavory Saturday
12:00 – 4:00PM
Location: NJMH Visitors Center, (104 E. 126th Street, Suite 2C)
Come have an extended listening session and hear live music, all based around new discoveries unheard for 70 years. By now, if you're a jazz fan attuned to history, you're aware of the Savory Collection. But whether you're a long time fan, or a newbie, you owe it to yourself to experience this gold mine find from the vaults of jazz lore.
Taralina Batista
Management Associate
National Jazz Museum in Harlem104 East 126th Street, Suite 2C, New York, NY 10035
· Harlem Speaks: Joe Temperley and Darcy James Argue· Jazz for Curious Listeners: The Joint is Jumpin'—Fats Waller· Jazz at the Dwyer: Trinidad Meets Jazz with the Etienne Charles Band· Jazz for Curious Readers: Salim Washington· Jazz at the Players: Aaron Diehl Trio· Harlem in the Himalayas: Jason Lindner/Suphala, Dominick Farinacci· Saturday Panel: Fat Waller's Harlem in the 1920s and 30s
Come pursue the varieties of jazz experience at the National Jazz Museum in Harlem! From conversations and live performances to educational sessions and panel discussions, you’re sure to have a ball and learn a lot too. If live music performance is your bent, look no further than our three concert series: Harlem in the Himalayas, which this month starts with a pairing of radically talented musicians Suphala, a tabla whiz, and jazz pianist Jason Lindner, to whom no style is foreign. The second featured artist for this series held at the Rubin Museum of Art is young trumpeter Dominick Farinacci, who has absorbed the jazz trumpet tradition and presents it with suave and vitality. Jazz at the Players has yet another young player making his mark, pianist Aaron Diehl, in a trio setting. And bring your dancing shoes, as trumpeter Etienne Charles, who recently (as did Diehl) graduated from Juilliard, inaugurates our newest series, right here in Harlem, with an ensemble for Jazz at the Dwyer(where people come to dance and enjoy the music) that will embody the spirit of Trinidad within the frame of jazz.
This month the National Jazz Museum in Harlem puts special focus on the musical and cultural contributions of an important early jazz figure, Fats Waller. AtJazz for Curious Listeners (every Tuesday evening) we begin with his rich legacy as a composer of compositions key to the jazz dimensions of the American Song Book, and continue on with his place in American music as a pianist and organist. In the latter part of April we present a Saturday Panel on “Fat Waller’s Harlem: Reflections on the 1920s and 30s” and top it off with Fats on film for the last JFCL event of the month.
Friday, April 2, 2010Harlem in the Himalayas Jason Lindner/SuphalaLocation: Rubin Museum of Art (150 West 17th Street), 7:00pm Pianist JasonLindner grew up in Brooklyn, NY, started playing piano by ear at age 2 and was playing jazz proficiently at 15. He apprenticed with master bebopper Barry Harris and the mystic master Chris Anderson (Herbie Hancock's harmonic guru), and worked as a journeyman with Junior Mance, Tardo Hammer, Harold Danko, Frank Hewitt and Jaki Bayard before exploring a world of Latin and African rhythms, Funk, R&B, Hip Hop, Electronica, and even Rock. He's been a fixture in the New York jazz scene since the mid-90s when the well-respected Greenwich Village club, Smalls, became home for a new generation of forward-thinking jazz musicians. There he led smaller ensembles and then a big band; Lindner regularly drew sold out crowds on Monday nights at Smalls, earning him an Impulse records debut on Jazz Underground/Live At Smalls, which led to a full-length release on Chick Corea’s Stretch label, Premonition.
He frequently performs in New York and around the world with Claudia Acuña, Meshell Ndegeocello, Baba Isreal, Dafnis Prieto, Omer Avital, Anat Cohen, Luisito Quintero, Malika Zarra, Juancho Herrera, and with his own groups the Ab Aetero, Now vs. Now, Progress Report, the JL-ECTRIK, Big Pump and the Jason Lindner Big Band, now celebrating its 12th year. He has also recorded with (and served as Musical Director for) Lauryn Hill and Amel Larrieux, toured with Roy Haynes, performed with and arranged for Arturo O'Farrill's Grammy-winning Jazz at Lincoln Center Afro-Latin Orchestra, and shared both stage and studio with Chick Corea, Junior Cook, Elvin Jones, Wynton Marsalis, Paquito D’Rivera, Jon Hendricks, James Moody, Graciella (Machito Orchestra), Mark Turner, Lou Donaldson, Jimmy Cobb, Lou Donaldson, The Henry Mancini Orchestra, Mark Turner, Christian McBride, Vernel Fournier, and other artists. Jason Lindner also teaches internationally. Suphala, one of the most versatile young tabla artists making music today, was raised in the U.S. by Indian parents, and began learning western classical music on the piano at age four, performing at age five, and as a teen transferred her passion to one of the world’s most complex percussion instruments: the tabla. She combines a prodigious technical command of her instrument with a playful sense of experimentation, switching effortlessly between composing, producing and performing Suphala is a protégé of the great tabla masters Ustad Allarakha and Ustad Zakir Hussain, whose constant inspiration compels her to dedicate herself to the study of Indian classical music while extending the reach of the tabla into a mosaic of musical genres and cultural contexts. Her fluency in a range of musical traditions informs her unique compositions and her highly improvisational performances, as you’ll witness at the Rubin Museum. The three albums she has released to date – Instru Mental (2000), The Now (2005) and Blueprint (2007) – go beyond a particular genre style while referencing such diverse influences as Western classical, Indian classical, jazz, folk and soul.
Monday, April 5, 2010Jazz for Curious Readers Salim WashingtonLocation: NJMH Visitors Center (104 E. 126th Street, Suite 2C), 7:00 – 8:30pm Born in Memphis, Tennessee, Salim Washington moved to Detroit, Michigan with his family at the age of eight. Early on he was drafted into the neighborhood gang; fortunately, the gang leader happened to play trumpet, which influenced Salim, ironically, to pursue music not gangs. He began on trumpet, and then studied classical piano. By middle school, Salim was performing in school ensembles and student funk bands. His college years brought him to Harvard, after which he joined the Worlds Experience Orchestra under the leadership of Jamyl Jones, and then the Source of Life Arkestral Revelation (SOLAR) in Boston, touring with them extensively throughout the south.
After returning to Detroit, he taught music in prisons and in public schools. He eventually returned to Boston to finish his degree. After completing his doctorate, he headed to New York to begin a professorship at the Brooklyn College Conservatory of Music. He has travelled extensively, playing music festivals throughout the US and Canada, Latin America, and Europe. He has also led music workshops for the Northern Ireland Arts Council in Belfast, the Bill Evans conservatory in Paris, and others. Salim Washington is a member of the Jazz Study Group at Columbia University and has participated on various committees and panels in service of jazz, including those convened by the Ford Foundation, the Boston Phoenix, the New England Foundation for the Arts.
In Salim’s collaboration with Farah Jasmine Griffin for the recently-published Clawing at the Limits of Cool, the two scholars chronicle the drama of the musical relationship between Miles Davis and John Coltrane, from their initial historic partnership to the interlude of their breakup, during which each man made tremendous progress toward his personal artistic goals. The book even continues with the last leg of their journey together, a time when the Miles Davis group, featuring John Coltrane, forever changed the landscape of jazz. Washington and Griffin also argue that Davis and Coltrane’s collaborations embodied important ideas about what it meant to be a black artist during the Civil Rights era. By insisting on the legitimate cultural value of their work, Coltrane and Davis challenged dominant images of black musicians as merely entertainers, earning the respect of blacks and whites alike for their accomplishments as artists. From an idiomatic perspective, the authors also examine the profound implications that the Davis/Coltrane collaboration would have for jazz and African American culture, drawing parallels to the changing standards of African American identity with their public personas and private difficulties.
Tuesday, April 6, 2010Jazz for Curious Listeners The Joint is Jumpin': Fats Waller: The ComposerLocation: NJMH Visitors Center (104 E. 126th Street, Suite 2C), 7:00 – 8:30pm We focus on the composing genius of Fats Waller as we start a month-long series in his honor. In the American public memory, perhaps because of his filmic images, Fats Waller is known as a smiling, eyebrow raising entertainer who also played piano. Fact is that Waller was one of the best of the New York jazz pianists in the au courant styles of that day—from Stride to Swing. He was also a fabulous organist, having cut his teeth at the open air religious services led by his father, Edward Waller, a Baptist lay preacher. He played piano at his public school and at 15 became organist at the Lincoln Theatre on 135th Street. His father hoped that Waller would follow a religious calling rather than a music career, but after his mother Adeline Waller died in 1920, he moved in with the family of the pianist Russell B. T. Brooks. Waller soon met James P. Johnson, under whose tutelage he developed as a pianist and through whose influence he came to make piano rolls—starting in 1922 with Got to Cool My Doggies Now. There’s even evidence to support Waller's claims that during his formative years as a pianist he studied with Leopold Godowsky and composition with Carl Bohm at the Juilliard School. Waller wrote many pop hits – Ain’t Misbehavin’, Honeysuckle Rose, for example – but also explored extended compositions with this London Suite. We’ll look at the breadth of his compositions this evening.
Thursday, April 8, 2010Harlem Speaks Joe Temperley, SaxophonistLocation: NJMH Visitors Center (104 E. 126th Street, Suite 2C), 6:30 – 8:30pm Scotland-born Joe Temperley first achieved prominence in the United Kingdom as a member of Humphrey Lyttelton's band from 1958 to 1965. He toured the United States with the band in 1959, and, in 1965, came to New York City, where he performed and/or recorded with Woody Herman, Buddy Rich, Joe Henderson, Duke Pearson, the Jazz Composers’ Orchestra, and the Thad Jones-Mel Lewis Orchestra and with Clark Terry, among many others. In October 1974 he toured and recorded with The Duke Ellington Orchestra as a replacement for Harry Carney. Mr. Temperley played in the Broadway show Sophisticated Ladies in the 1980s, and his film soundtrack credits include The Cotton Club, Biloxi Blues, Brighton Beach Memoirs, When Harry Met Sally, and Tune In Tomorrow, composed by Wynton Marsalis.
Mr. Temperley is a mentor and a cofounder of the FIFE Youth Jazz Orchestra program in Scotland, which now enrolls 70 young musicians ages 7 to 17 playing in three full-size bands. Mr. Temperley has released several albums as a leader, including Nightingale (1991), Sunbeamand Thundercloud with pianist Dave McKenna (1996), With Every Breath (1998), and Double Duke(1999). He released two new recordings in September 2001. He is an original member of the Lincoln Center Jazz Orchestra (now JALC Orchestra) and serves on the faculty of the Juilliard Institute for Jazz Studies, which opened in fall 2001. He has served on the
Manhattan School of Music faculty since 1992. Tonight Temperley, known too for his moving feature on Duke’s “A Single Petal of a Rose” with the JALC Orchestra, will discuss his tenure in this world-class jazz big band led by Wynton Marsalis as well as his previous decades of service in the vineyards of jazz.
Friday, April 9, 2010Harlem in the Himalayas Dominick FarinacciLocation: Rubin Museum of Art (150 West 17th Street), 7:00pm For a soulful listen to the future of jazz now, you can’t miss with young trumpeter Dominick Farinacci, an exemplar of the brass tradition in jazz in full bloom. Last year, after having released six albums as a leader on a Japanese record label, Farinacci debuted with critical acclaim in the U.S., on the Koch label, with “Lovers, Tales, and Dances.” He's won a variety of awards over the years in the States and in Japan—Farinacci received two Gold Disc awards (Record of the Month) from Swing Journal Magazine in Japan for his recordings of "Say It" and "Besame Mucho," for example. In 2003 he received the International New Star Award in Japan, an honor previously awarded to Diana Krall and Christian McBride, co-director of the National Jazz Museum in Harlem. In the United States, Dominick was the recipient of the ITG Carmine Caruso International Jazz Trumpet Competition in 2003. At 15, he was "discovered" by Wynton Marsalis in Cleveland, Ohio, Farinacci’s place of birth. Wynton invited Dominick to appear as a featured soloist with the Lincoln Center Jazz Orchestra on a PBS broadcast, "Live from Lincoln Center." While studying with Warren Vache and Wynton Marsalis at the Juilliard School, Dominick was also featured at Lincoln Center on a tribute concert to Freddie Hubbard and Lee Morgan, "Night of the Cookers." Over the years he has performed and/or recorded with many high-profile jazz artists such as Joe Lovano, Wynton Marsalis, Ira Sullivan, Mulgrew Miller, Carl Allen, Jason Miles, and Joe Labarbera. Prepare to be dazzled by virtuosity and moved by the emotional weight of this young trumpet lion as he claws at the limits of cool with an intense yet relaxed approach to the jazz trumpet tradition.
Tuesday, April 13, 2010Jazz for Curious Listeners The Joint is Jumpin': Fats Waller: The PianistLocation: NJMH Visitors Center (104 E. 126th Street, Suite 2C), 7:00 – 8:30pm Over sixty years after his death, the consummate artistry and high-spirited zest for living make pianist/composer Fats Waller one of the most celebrated artists in jazz history. His best-known compositions, such as "Ain't Misbehavin'," "Honeysuckle Rose," "Black and Blue," and "Jitterbug Waltz," long ago entered the canon of American music, as discussed in last week’s Jazz for Curious Listeners class. Moreover, his skills as a pianist place him in the top tier of those who played the instrument, but this fact has been obscured by his greatness as an entertainer with a widespread following in the United States and Europe. Tonight we focus on the art of Fats Waller as a pianist: his playing (and his songs) reverberates to this day amongst jazz fans and musicians cognizant of his influence and depth.As a pianist, Waller was the outstanding exponent of the Harlem Stride style of jazz piano, drawing together the innovations of Willie "The Lion" Smith and James P. Johnson into a coherent style. And taken alone, the fact that he was a major influence on the peerless Art Tatum speaks to the eternal place Fats Waller will maintain among the pantheon of jazz greats. Come hear his piano mastery in all of its splendor at the Visitor’s Center of the National Jazz Museum in Harlem. http://www.jazzpromoservices.com/For Jazz for Curious Readers, scholar of jazz and saxophonist Salim Washington will discuss his co-authorship of a recent work delving into the Miles Davis/John Coltrane relationship and impact. Harlem Speaks features discussions with baritone sax master Joe Temperley, and critically-praised and provocative big band leader Darcy James Argue.
National Jazz Museum in Harlem October Schedule:
· Harlem Speaks: Sandra Reaves-Phillips and Percy Brice
· Jazz for Curious Listeners: Lesser Known Jazz Siblings – Blanche Calloway, Linton Garner, Gus Wilson, Joe Eldridge, Lee Young and Nat Adderley
· Jazz for Curious Readers: Jazz Journalist Greg Thomas
· Harlem in the Himalayas: Al Foster Trio
· Saturday Panel: A Song Called Talk – Jazz Roots of Hip Hop
· Special Event: Benny Carter Memorial Concert
· Special Event: Jazz Tech Talk - Herbie Hanc
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