Jazz at Lincoln Center is a relatively young institution.
Todd Barkan, Musical Director, Jazz@Lincoln Center
When Jazz at Lincoln Center opens the doors to the Frederick P. Rose Hall this month it will welcome the jazz community to an impressive state of the art facility representing the greatest commitment of resources, both human and financial, to the presentation and preservation of the art of jazz in the music's hundred-year-old history. Located inside the Time Warner Building on Columbus Circle, with its marquee prominently proclaiming its place in polite society from the corner of Broadway and 60th Street, Rose Hall boldly beckons New York City citizens and visitors to enter a venue that will strive to bring jazz to the people in a manner commensurate with its sophistication, without sacrificing the humanity that is the music's heart and soul.
The 100,000 square foot hall, a multipurpose facility featuring three uniquely different performance spaces, as well as a large rehearsal room/recording studio, several classrooms and a gallery/museum, was designed by the internationally-famed architect Rafael Vinoly, but will undoubtedly (and somewhat justifiably) come to be known as the "house that Wynton built". Marsalis calls the hall "the house of swing". He proclaims, "The concept is a complete integration of all forces. The atrium is going to be a hall; everything is a hall. It's all resonant and it's all swinging". This concept of complete integration is extended so far as to even include the facility's freight elevator, the white walls of which have been decorated by one of its operator's with a panoply of hand painted representations of a veritable orchestra of jazz instrumentalists and are further adorned with an already-impressive number of autographs by visitors - from Ornette Coleman to Taj Mahal.
The Ertegun Jazz Hall of Fame in the atrium welcomes visitors to the hall. The miniature museum, which will to be open to the general public free of charge everyday, is a multimedia installation designed by the renowned architecture firm the Rockwell Group, with interactive kiosks, audio components and projection screens providing guests with an easily accessible glimpse into the music's rich history. Incorporating materials and shapes "that evoke musical instruments, sound, still and video images and lighting that adjust in intensity and colorï the space strives to achieve the spirit of improvisation", in the word's of one publicist.
One flight up, in the Irene Diamond Education Center, there are lecture halls where the well known Jazz Talks series will continue, as well as classrooms where Phil Schaap, Michael Phillip Mossman and other members of the very knowledgeable Jazz at Lincoln Center teaching staff will instruct students, both young and old, in general and in-depth courses on jazz and its creators, sustaining the organization's fierce commitment to education. Derek Gordon, J@LC's newly appointed Executive Director affirms, "Education is essential to what we do" and expresses a strong desire to continue expanding the scope of organization's educational programs which he calls "truly exceptional in quality".
The Rose Theater will essentially replace Alice Tully Hall as the site of J@LC 's concert series, but will be more versatile than the Lincoln Center hall, which has served Marsalis and company well despite the fact it was designed specifically for classical music. J@LC's artistic administrator Todd Barkan notes, "There's a big difference between Tully and Rose. It's more intimate, it's more organic. The seats are more a part of the oeuvre of the presentation. They're integrated into the entire schematic much better.
Speaking of the "old" Lincoln Center, Wynton notes, "Nothing here was designed for the sound, function and feeling of jazz ï Most concert halls are designed for symphonic music, not jazz. Most of the time we play in halls that have too much echo for our music. The tail of the echo is so long that it makes the music muddy. We have drums playing all the time, which is not the case in symphonic music. We have a cymbal ringing all the time in the high register. And the bass is playing all the time in the very low register. It's like a sandwich between these two extreme frequencies. We set out to build a hall where the sound is made for us ï So, the significance of Frederick P. Rose Hall is twofold: It is the first facility (in the world) designed specifically for jazz and it is the home of jazz at America's most important performing arts center".
I fell in love with jazz through my dad Bobby Hirst who was a jazz pianist for over 50 years around the UK and Europe. He was such a modest man but an incredible musician. I tinkered with piano but found myself drawn to guitar after listening to Wes Montgomery, Joe Pass and Kenny Burrell
I fell in love with jazz through my dad Bobby Hirst who was a jazz pianist for over 50 years around the UK and Europe. He was such a modest man but an incredible musician. I tinkered with piano but found myself drawn to guitar after listening to Wes Montgomery, Joe Pass and Kenny Burrell. Misty by Erroll Garner is one of my favourite tracks. My current choice of guitars are Gibson ES335 & ES175 although I only own Epiphone copies at present. I also play classical guitar and love to play jazz on them. I have recently moved to Leeds from York and hoping to meet new friends in the jazz community.