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NEWS: INTERVIEW

Keeping the Lamp Lit in Baltimore: Todd Marcus

Keeping the Lamp Lit in Baltimore: Todd Marcus

The city of Baltimore certainly has its share of a rich jazz legacy. On the contemporary scene there is increasing jazz performance activity in Baltimore, as well as a growing cadre of exceptional young musicians who are striving to contribute. These include such talented players as vibraphonist-multi-instrumentalist Warren Wolf and alto saxophonist Tim Green. Another who ...

NEWS: ADVOCACY

Jazzspace and the Pittsburgh Legacy

As reported in these pages, I had the pleasure recently of returning to my birthplace of Pittsburgh, PA to moderate panel discussions and participate in a very rewarding commemorative weekend honoring the rich legacy of that city’s African American Musicians’ Union local. The city is rife with jazz history and has produced an incredible number of ...

NEWS: INTERVIEW

Creating a New Audience Development Paradigm

Amidst all the various perceived “ills” prescribed to jazz by its enthusiasts – young musicians failing to “advance” the music stylistically; the younger generations of musicians arriving on the jazz scene simply pale next to the founders and the masters; lack of enough venues fostering jazz performance opportunities; the dwindling jazz radio universe; the holistic, big ...

NEWS: INTERVIEW

The Quest to Reach New Audiences

Last post we detailed the 8th annual DC Jazz Festival, and its admirable outreach efforts that resulted in their building a big tent across Washington that all told encompassed an incredible 21 neighborhoods. One of the key partner organizations in the DC Jazz Festival this year was CapitalBop, the brainchild of two enterprising young Washingtonians, journalist ...

NEWS: OPINION

Can We Rebuild/Reboot the Jazz Audience?

In the always thoughtful NPR jazz blog A Blog Supreme editor Patrick Jarenwattonan poses the question “IF not jazz education, what will rebuild the jazz audience.” In the piece he cites a music educator who questions the tired old saw that suggests that if we just pour more money into jazz/music/arts education in general we will ...

NEWS: INTERVIEW

Tom Teasley's Expanded Global Viewpoints

Tom Teasley's Expanded Global Viewpoints

When the DC-area based multi-instrumental wizard and all around percussion renaissance man Tom Teasley asked me to write liner notes for his latest global percussion release All The World’s A Stage it got me wondering about the evolution of one who self-identifies as a jazz percussionist, yet has so successfully broadened his base to include theater, ...

NEWS: INTERVIEW

A Conversation with NEA Jazz Master David Baker

A Conversation with NEA Jazz Master David Baker

David Baker on the cello, which became his second instrument after an accident ended his trombone days. When friend and Jazz Education Network board colleague (and fine keyboardist in her own right) Monika Herzig—a proud Indiana University grad and student of National Endowment for the Arts Jazz Master David Baker—asked me to contribute a chapter to the ...

NEWS: OPINION

Modern Jazz at the Apollo Theater

Modern Jazz at the Apollo: 1950s-1960s When the Apollo Theatre opened the doors for its inaugural show on Friday, January 26, 1934, the trendsetting variety bill included the great jazzman Benny Carter and his orchestra. The big band, or so-called Swing Era was in full flower and these swinging 17-piece behemoths, sparkplugs of the happy feet crowd ...

NEWS: RADIO

Anatomy of a Recording Session... "Standard Domain"

Anatomy of a Recording Session... "Standard Domain"

Last December, as saxophonist-educator Paul Carr and his wife Karmen Carr were busily locking down the forthcoming 3rd annual edition of their late winter Mid-Atlantic Jazz Festival, Paul invited this writer to a recording session for his summer 2012 release Standard Domain. Having worked with Paul and Karmen to develop the Mid-Atlantic Jazz Festival, which arose ...

NEWS: OPINION

Greg Osby on the Audience and Musicians Who Play for Themselves...

Greg Osby on the Audience and Musicians Who Play for Themselves...

Continuing our dialogue on the audience equation for creative music, which heretofore has focused on the puzzling conundrum of the African American audience, the always thoughtful saxophonist-composer and record label (Inner Circle www.innercirclemusic.com) head Greg Osby weighs in on the audience in general, with a particular emphasis on calling into question musicians who only seem to ...