June 3, 2008. Posted by Joshua Jackson.
The National Endowment for the Arts today announced the recipients of the 2009 NEA Jazz Masters Award-the nation's highest honor in this distinctly American music. The six recipients will each receive a $25,000 grant award, and will be publicly honored in an awards ceremony and concert on Friday, October 17, 2008.
The six 2009 NEA Jazz Masters are:
George Benson (vocalist/guitar)
Jimmy Cobb (drums)
Lee Konitz (saxophone)
Toots Thielemans (harmonica and guitar)
Snooky Young (trumpet)
Rudy Van Gelder (rec. engineer)
© 2008 WBGO
April 20, 2008. Posted by Angelika Beener.
Sigh. What a drag. I was just talking to a friend and about this yesterday. He was telling me that IAJE is where he first met mentors like Kenny Garrett, and the peers that he works with today. It's sad for the jazz community at large, and for all it means to the young upcoming musicians. A personal sense of loss for sure. Details are below...
American jazz gathering, planned for Seattle, is canceled
By Paul de Barros
Seattle Times jazz critic
The most important American jazz gathering of the year, scheduled to take place in Seattle in January, has been canceled because its presenter is declaring bankruptcy.
In what is being described as a "perfect storm" of bad luck, unchecked growth, fundraising and management failures, the International Association for Jazz Education (IAJE) - an important link to Seattle's successful school jazz-band scene - has collapsed.
According to IAJE's legal counsel, Alan Bergman, it will go into Chapter 7 bankruptcy and be turned over to a trustee, its assets parceled out to creditors.
A letter from the group's president, Chuck Owen, is scheduled to go out to members as early as today, announcing the bankruptcy - and essentially the dissolution - of the 40-year-old organization.
"It's a dark day," said band director Clarence Acox, whose award-winning Garfield High School jazz band has performed at IAJE's gathering four times.
"It's one of the best jazz events in the world, for the performances by great musicians, clinics, meetings, a place for people to network and exchange ideas. It was the one event when all the people in jazz could get together and have fellowship."
Roosevelt High School band director Scott Brown, whose band has played the conference as well, agreed.
"I'm bummed," said Brown. "We had hoped to perform, but it's way more global than that. It's exposure to so much music that's going on around the world, to information about the business, networking, clinicians."
IAJE meets in different cities each year, but often in New York.
It began in 1968 as a modest professional gathering of jazz-music teachers, holding its first conference in 1973.
In 1997, the conference embraced an "industry track," absorbing another convention previously sponsored by JazzTimes magazine, which brought in record companies, agents, managers, radio professionals and high-profile performers such as Herbie Hancock and Quincy Jones.
Since then, the organization has formed chapters worldwide and has become the site for the National Endowment for the Arts Jazz Masters Awards ceremony; commissions of new works; an academic conference; programs to promote women in jazz; and a wide array of other programs, including a teacher-training institute.
In a good year, the conference attracts 7,000 to 8,000 people, a must-attend for anyone involved in jazz.
Rumors that the organization was in trouble surfaced after this year's dramatically underattended conference in Toronto, down 40 percent.
In a March 25 letter to 8,000 members, Owen announced the suspension of IAJE's magazine, its search for a new executive director, its scholarship programs and its summer retreat.
The letter also explained that the organization's ambitious capital campaign had spent more money in startup costs than it took in.
Owen asked members to donate $25 and netted about $12,000 from 250 donors, according to Bergman. Greg Yasinitzy, IAJE's Northwest division coordinator, said he had been told IAJE liabilities exceeded $1 million.
Bergman said he felt the organization's rapid growth had outstripped the expertise of its founders.
"A bunch of jazz musicians formed this organization and it grew into a multimillion-dollar operation with a huge convention and a big staff and big journal, but it was still run by a volunteer board elected by the membership that met twice a year."
Though the conference in Seattle has been canceled, there is already talk of a regional conference that may take place instead.
Copyright © 2008 The Seattle Times Company
© 2008 WBGO
April 4, 2008. Posted by Angelika Beener.
Not too long ago, I had the pleasure of interviewing a dear friend and an overwhelmingly talented musician. Marcus Strickland, winner of the 2006 Jazz Times Reader's poll for Artist of the Year, is a unique and special artist.
On this episode of We Insist: Jazz Speaks Out, we discuss the role of jazz in the "X" generation, and the new roles jazz musicians have to take in being proactive int heir careers, in the ever-evolving record business. Marcus talks about his new album Open Reel Deck his work with musicians outside of the jazz community and how hip-hop is influencing his music more than ever. He also discusses the idea of "young lions" in jazz, and how it's really not so different from Charlie Parker, and Trane. This was a great interview. Check it out.
© 2008 WBGO