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incarnationsf · 5 years

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Date & Time: Saturday June 22, 7:30 p.m. Venue: Incarnation Episcopal Church, 1750 29th Avenue, San Francisco Tickets: $20 General, $15 Seniors/Students

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Ben Rosenblum Jazz Trio

Ben Rosenblum – piano/accordion Greg Feingold – bass Ben Zweig – drum

Award-winning jazz pianist, composer and accordionist Ben Rosenblum has been described as “mature beyond his years,” (Jon Neudorf, Sea of Tranquility), and as an “impressive talent” (C. Michael Bailey, All About Jazz), who “caresses [the music] with the reverence it merits” (Bob Doerschuk, Downbeat Magazine). Ben is based primarily in New York City, and is a graduate of the Columbia-Juilliard program (in 2016). His original music combines his extensive knowledge of the history of jazz with a free-wheeling, modern melodic sensibility and powerful narrative approach to the piano. His profound passion for jazz, swing and world music genres finds expression in his unique fusion of harmonic and rhythmic elements from a wide array of sources, and gives rise to a signature compositional sound and style at once iconoclastic and deeply rooted in such figures as Bill Evans and Wynton Kelly. Ben’s first priority in his composition and in his playing is always narrative – to tell a compelling story with his music, while reaching the hearts of his audience, connecting on an emotional, an intellectual and a spiritual level.

Reviewers of his debut album Instead – released in 2017 with bassist Curtis Lundy and drummer Billy Hart – have been impressed by his musicality and his tasteful playing in light of his immense technical skill. Bob Doerschuk of Downbeat Magazine gave the album four stars, and wrote, “He has the chops to shoot off a few fireworks, … but that doesn’t seem to be a priority when covering sacred material.” C. Michael Bailey notes approvingly: “there do emerge conservatoire aces with grit in their imagination and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener.” Fred Stal of RG Magazine most recently described his experience of listening to Ben’s live CD release performance: “The music keeps you on your feet and not wanting to miss a single moment of magic. … Raindrops from heaven poured down with style and grace from Rosenblum’s piano.”

Since the release of Ben’s debut album, Ben has been touring regularly – both nationally and internationally – celebrating the album and collaborating with artists around the world. Ben’s trio made debuts in Japan and in Canada in 2018. During his two-week tour of Japan, Ben performed in eight different cities, including in Tokyo at Akasaka B-flat, and in Yokohama at Himawari-no-sato Concert Hall with famed koto player Yuko Watanabe. Highlights of his Canada tour included appearances at Upstairs Jazz in Montreal, Maelstrom and Bar Ste-Angele in Quebec City and the Southminster “Doors Open For Music” Concert Series in Ottawa. In the United States, Ben has traveled extensively throughout the Northeast, Midwest and West Coast, with trips planned for the South and Southwest. These domestic tours have featured performances at some of the most well-respected venues in the country, including Kuumbwa Jazz Center (Santa Cruz), Ravinia (Chicago), Cliff Bells (Detroit), An Die Musik (Baltimore), The Bop Stop (Cleveland), Mezzrow (New York City) and many others. As a sideman, Ben has had further opportunities to tour the world. In 2018, he traveled for three weeks through Croatia, Slovenia, Italy and Serbia with Astrid Kuljanic, during which the group performed at multiple festivals, including the Ljeto na Bundeka Festival in Zagreb and the Soboško Poletje Festival in Murska Sobota. He also performed for two nights at the Blue Note in Beijing alongside famed jazz singer Deborah Davis.

Born and raised in New York City, Ben had the opportunity to study with some of the most influential figures in jazz piano, including Frank Kimbrough, Bruce Barth, Ben Waltzer and Roy Assaf. At the early age of sixteen, the originality of his work was already being recognized with numerous awards, including the ASCAP Young Jazz Composers Award (2010), the Downbeat Student Music Award for Best Original Song (2010) and the Downbeat Student Music Award for Best Arrangement (2011). As a result, even before entering Columbia, Ben was commissioned by the XIBUS World Orchestra to write a piece for performance at New England Conservatory’s Jordan Hall in 2012. Ben has continued to earn numerous distinctions and honors in recent years. In 2015, he was a finalist at the American Jazz Pianist Competition in Melbourne, Florida, and in 2016, at the Jacksonville Jazz Piano Competition in Jacksonville, Florida. In 2018, he earned further recognition from the ASCAP Young Jazz Composers Award competition in the form of an honorable mention, and he was featured at the ASCAP Foundation’s 2018 “We Write The Songs” event at the Library of Congress in Washington D.C.

In addition to his own work, Ben often collaborates with other musicians. He has worked extensively with Grammy-nominated singer Ryland Angel on several compositional projects, including the project Unspoken, which premiered at the Weisman Art Museum in Minneapolis, in November of 2016. His debut album Instead has received very favorable reviews from a wide range of sources throughout the world, including Downbeat Magazine, All About Jazz, Drumset Magazine (Italy) and The Jazz Writer (Germany).

Ben performed with the Bachiana Brasileira Orchestra at Lincoln Center (conducted by Joao Carlos Martins and featuring Dave Brubeck), and he was a featured soloist at Carnegie Hall’s Stern Auditorium with the New York Harmonic Band (conducted by Reona Ito). He traveled to New Delhi, India, to perform at a Max India Benefit, and was a participant at Il Grande Veggio, in Perugia, Italy. He has played at the Masten Jazz Festival (Buffalo), the Richmond Jazz Festival (Richmond), the Mid-Atlantic Jazz Festival (Maryland), Lincoln Center Out of Doors Festival (Manhattan), the DUMBO Arts Festival (Brooklyn), Musikfest (Bethlehem, PA) and the Music Mountain Festival (Connecticut). He has also appeared at Dizzy’s Club Coca-Cola, the Appel Room at Lincoln Center, Ryles Jazz Club, Webster Hall, Symphony Space, The Blue Note, Smoke, Smalls and a host of other music venues throughout the northeast.

Ben has worked extensively with such jazz luminaries as Curtis Lundy, Neal Smith, Winard Harper, Wayne Escoffery and Deborah Davis, and he has performed in bands led by Bobby Watson, TS Monk, Chris Washburne and Warren Wolf. In addition, he has shared the stage with many other jazz legends, including Wycliffe Gordon, Brian Lynch, Phil Woods, Houston Person, Jerry Dodgion, Eliot Zigmund, Clarence Penn, Craig Handy, Dave Stryker, James Cammack, Ameen Saleem, Bob Nieske, Steve Nelson, Yasushi Nakamura, Essiet Essiet, Willie Williams, Patience Higgins, Josh Evans, Kenny Davis and Rogerio Boccato.?

While at Columbia University, Ben founded the Columbia Jazz House, a student-run jazz advocacy group that promotes jazz on campus through concerts, educational workshops and jam sessions. On December 28th, 2015, the Columbia Jazz House was featured in a New York Times article titled “Melodies Night and Day in this Columbia Dorm.”

Greg Feingold started playing bass at the age of 10. He quickly realized that bass was something he would pursue for the rest of his life and was accepted to the Chicago Academy for the Arts. After graduating from the Academy, Greg was given a scholarship to attend Berklee College of Music. Greg was very active both locally and nationally while at Berklee. He began playing with the International String Trio and performing regularly with Berklee faculty such as Bill Pierce, Neal Smith, Jon Hazilla, Doug Johnson, Rebecca Cline and many others. After graduating, Greg moved to New York and began playing in Winard Harper’s Jelli Posse. Throughout his stay in New York, he worked with legendary jazz performers such as Jimmy Cobb, Eric Reed, Eric Harland, Cyrus Chestnut, Steve Turre, Jim Rotondi, Jackie Ryan, Stephen Scott as well as continuing to tour with the International String Trio and the Valinor Quartet. Greg moved to Seattle in 2015 to change his surroundings and currently performs with a variety of groups around the west coast. He can be seen performing regularly with Thomas Marriott, Julian MacDonough, Miles Black and other great local Seattle musicians. He also co-leads the 200 Trio which performs around the country as one of the up and coming jazz guitar trios.

Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler). After moving to NYC in 2011, the 26 year old has accompanied an impressive array of jazz luminaries, including; Randy Weston, Johnny O’Neal, Larry Ridley, David Williams, Roy Hargrove, Deborah Davis, Joe Cohn, Champian Fulton, Jerry Dodgion, and Steve Nelson. Described by downbeat as “especially crisp and articulate,” Zweig has presented his personal sound performed with tours throughout the continental US, Asia and Canada. He currently tours regularly with Ben Rosenblum’s trio and leads a bi-weekly residency hosting the Sunday late night jam sessions at Smalls Jazz Club in NYC. Zweig is an avid educator. He has taught clinics across the country with the Champian Fulton quartet and has also directed the after-school percussion program at WHEELS middle and high school. Mentored by master drummers such as Joe Farnsworth, Billy Hart, Kenny Washington, Rodney Green, Justin DiCioccio, Christopher Brown, John Riley, and Rogerio Boccato, Ben is committed to passing down the information he has received from these legends. In his formative education, Ben was classically trained by Kenneth Piascik, culminating in performances with the NAfME All-Eastern Orchestra and as principal percussionist with the MENC All-National Concert Band. He currently maintains a private drum studio in Morningside-Heights with students of all ages. Ben received his B.M. and a M.M. from the Manhattan School of Music.

#Jazz #jazz music #jazz trio #live jazz #Jazz Concert #san francisco #san francisco jazz #San Francisco Live Music #sunset district #SunsetDistrictSanFrancisco #ben rosenblum

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oberlinconservatory · 5 years

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Alumni Spotlight: Nicholas Music ’18, tenor

Nicholas Music ’18 has always loved winter term in Oberlin. It all began when he dove head-first into the role of Tenor II in Jeremy Beck’s Review during his first winter term on campus. That same month, he landed a starring role in a campus production of Jake Heggie’s one-act opera Again, which tells the off-screen story of Lucille Ball and Desi Arnaz from the iconic I Love Lucy show.

“Taking on the role of Ricky was a huge challenge for me but an extremely valuable part of my education,” Nicholas says. He spent three of the next four January terms on campus participating in Oberlin’s annual winter term production or preparing a role for the spring opera. Just last year, that project was Angel’s Bone, the Pulitzer Prize-winning opera by Du Yun ’01.

Although he has graduated from Oberlin and is working on his master’s at the University of Michigan, Nicholas still will be on campus this month—this time to prepare for his role as guest soloist with the Oberlin College Choir in Stravinsky’s Les Noces. The ensemble will perform the piece on January 19 at New York’s Carnegie Hall, with a preview performance slated for Oberlin on January 16.

“I consider it an immense privilege to take part in this series of performances culminating in my Carnegie debut!” Nicholas says. “It is an opportunity that I have only dreamed of until now, and it’s even more of a joy that I get to join my friends and peers from Oberlin.”

Singers and instrumentalists of all levels consider Les Noces a tricky piece of repertoire. “This is my first time singing in Russian,” Nicholas says, “and with the pace of the piece, there is no time to second-guess diction.”

The young singer’s experiences in Oberlin—especially with Du Yun, who visited campus to work with cast members in January 2018—have fueled his ongoing passion for opera. Angel’s Bone had been performed only once before, so with nothing more than an audio recording of the original cast for a compass, Nicholas found portraying the role of Boy Angel a highly creative endeavor.

“Du Yun took time to coach everyone individually and even met with us as a cast to talk about her journey and vision,” he says. “My coaching with Du Yun was not at all what I expected. As classical singers, we aim to sing every pitch and rhythm as accurately as possible…I was surprised to hear from her that the notation in many places was meant to be more of a guide than a mandate.

“Du Yun encouraged me to explore more freedom with the notation and to just feel how the emotional journey of the character motivates the music. I think her work with the cast was something none of us will forget.”

Head to oberlin.edu/oberlin-in-nyc for tickets and complete details about the Oberlin College Choir’s January 19 appearance at Carnegie Hall! ______

ABOUT OBERLIN IN NYC

The Oberlin Conservatory of Music is a world leader in the training of professional musicians. On January 16 and 19, 2019, three Oberlin ensembles will present notable programs in New York City’s iconic venues. Leading the way on Wednesday, January 16, is the inaugural performance of the Oberlin Sonny Rollins Jazz Ensemble at Dizzy’s Club Coca-Cola with award-winning guest pianist Sullivan Fortner, a 2008 Oberlin Conservatory alumnus.The Oberlin College Choir and Oberlin Orchestra share the stage on Saturday, January 19, at Carnegie Hall’s Stern Auditorium in a showcase program that includes Stravinsky’s dramatic and rarely performed Les Noces.

#oberlin conservatory #music #classical #opera #voice #choir #orchestra #carnegie hall #concert #new york city #oberlininnyc #oberlininnyc2019

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tetesaxman · 5 years

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My Boston and New York Trip Summary

I wrote this as part of my WLJ Internship.

Staff Diary :

We have many talented staff: full-time, part-time, interns, volunteers working with us towards strengthening our jazz community. From time to time we’d like to feature a personal thoughts of them. For this entry, we would like to feature our loving intern Te and about his first big trip to the States to Los Angels, Boston and the jazz capital, New York City!

MY BOSTON AND NEW YORK TRIP SUMMARY Pongthipok Sootthipong (WLJ SG intern)

BOSTON DAY 1 - Wally’s Cafe Jazz Bar

As I was in the car driving from Merced to San Francisco Airport to take a flight to Boston, I’ve already looked up some jazz bars in Boston. Without thinking about how cold it was gonna be when I arrive in Boston, I planned to go to Wally’s Cafe Jazz Bar, which has been established since 1947. There were two things that made me decide to go to Wally’s that day, number one, how close it is to the hotel I was staying at and it advertised itself on its website as ‘Musicians Training Ground’. Since, I really wanted to see what the Berklee kids are doing musically, there was no hesitation.

I reach Boston at 6 or 7pm, It was about 4 degrees Celsius, which I was told, was quite warm for Boston’s winter temperatures. I was literally freezing. I didn’t rethink my decision though, I took the metro to Wally’s. My description of Wally’s would be a space where the growing musicians can come and grow. It was a small bar with barely more space than the space of one ground floor shop house unit. It didn’t help with the fact that the place was packed back to front. I couldn’t get anywhere past the door.

As for the music at Wally’s, It was a saxophone quartet. I don’t know who it was but they were quite talented and young so I had my suspicions that they were Berklee or New England Conservatory students. To be honest, the level of musicianship on that day was pretty high, despite the loud talking and intoxicated audience. I felt like I didn’t appreciate their music as much as I should. This is purely because they were playing modern jazz, straight eighth kinda feel, which I haven’t studied and therefore do not understand. I stayed for 1 and half set. I had to leave because it was too hot inside the bar, too cold outside the bar and I needed to catch the train back to the hotel. Overall, it was a mixed experience stompin’ in at Wally’s but I blamed that on my level of musical understanding.

BOSTON DAY 2 - BERKLEE COLLEGE OF MUSIC

The second day of my Boston trip, I was scheduled to meet with the Singaporean bassist studying abroad at Berklee College of Music, Mr. John Koh. We scheduled to meet at 160 Massachusetts Avenue at 12pm or as I called it, the Berklee new building. Prior to my meeting John, i’d like to do some CD shopping. After a search on Google Maps, I discovered that the best thing to do is to head to a music shop at the New England Conservatory, which was only down the road from my hotel. I was expecting the shop to be a CD shop, but instead it was a music shop, full of scores and other stuff. I bought a Brecker book then left. I discovered that I could walk from NEC to Berklee in 10 mins. Hence I did.

As I walked up to Berklee on that cold saturday afternoon, I see the vibe, the practice vibe. Everybody was walking into or out of the Berklee College of Music buildings with their instruments and with their friends. The vibe was incredibly positive and friendly. There were Wendy’s restaurant, some bars, musical instrument shops and 7-eleven across the street.

After I met up with John Koh, he took me for a trip around the campus of Berklee Boston. Their recording studios and suites are massive and state of the art. They have loads of fully equipped ensemble rooms littered throughout the campus buildings. They have a library full of music books. They have a big computer lab and a Stan Getz saxophone on display.

However, their practice rooms are extremely tiny when compared to anything we are used to here at the college I studied at, LASALLE College of the arts or any other practice studios at Yong Siew Toh Conservatory of Music. Their piano rooms can only fit one upright piano and a bench and that’s it. In fact, when I came back to Singapore and told my teacher, Greg Lyons about Berklee. Being an alumni, he described the practice rooms for saxophone as telephone booths. All of this didn’t matter because on this saturday afternoon a week before christmas, everybody was practicing and shedding and hanging around Berklee. In fact, the day I was there, there happened to be an assault that took place at the 7-eleven opposite to the campus, but it didn’t matter because, everybody was still hanging around campus at 10pm. Massachusetts Avenue was still alive on this cold saturday night.

NEW YORK CITY

Two days later I was cruising through jazz bars in New York City. I went to the infamous Village Vanguard where I’ve paid 35 dollars for two nights for a 10:30pm set to watch Kenny Barron and Vanguard Jazz Orchestra. The set at Village Vanguard ended around midnight. Both nights, I was starstrucked to be able to watch some of my heros such as Kenny Barron and Dick Oatts performed live in front of me. The set at Village Vanguard ends around midnight. I would then grab a pizza from the store next door and walk down a block to Smalls. I love Smalls. It’s really a proper underground (literally) jazz bar you would envision to see in New York City. I was also there for two nights. I caught Ben Zweig Trio “After-hours” at 1am playing proper, super swingin’ swing music on the first night, and Jon Elbaz Trio “After-hours” at 1am playing more third-stream music which I’ve yet to understand. The will to find out more about the music made me stay for the after jam session on that night.

It was closing in on 3:30am at Smalls. The after hours jam session is coming to the last song. The last song they played was ‘If I were a Bell’. Since It was getting late, each jammers was only allowed to take one chorus. There were about 6 saxophonists and a few more trumpeters and trombonists. Each jammers looks like they are college kids or younger. I could have sworn that they are 25 and younger. However, their level of playing is beyond beliefs. The language, the connection to the music, the communication within the band stand is astonishing. I’d never forget that last song. Each players were trying their best, all different sounds with one common goal, to play as good as they can play.

I cannot put into words how inspired I am from taking this trip to Boston and New York as well as Los Angeles, where I actually jammed. I made new friends in these three cities last December and I’m glad. I’m glad that I’m fortunate enough to have experience what the music is really like in one of the best jazz schools in the world as well as the city which has been at the center of jazz music for the longest time. Prior to my journey to the states, I felt really stuck and uninspired, the jazz scene in Singapore was not doing so well and I’ve no new inspiration. No new experiences to fill that urge of wanting more even though I tried to get myself to be inspired, I practiced more, I transcribed more, I listened more. But at the end of the day, It was same old same old. Same places, same tunes and same acts. It was as though nobody cares about the music anymore. It was as though we lost that connection that bonded music to us.

Why not move to New York? I’d love to put myself in New York City, but that’s still a long journey away. Obviously there are many disadvantages of living in New York both musically and physically. However, I’m never someone who plans ahead that much, I’m more of a guy who make what now matters. I figured that the thing I can do now, is try to bring New York City back to me. To be the best of what I am. To push beyond expectations and limitations. To be inspired and eventually inspiring. There won’t be an end.

In Singapore now and doing my thesis for my four months left at LASALLE College of the Arts, I have one big goal. My one and only big goal is to aim high, to aim to be as good as the New York Cats I saw ; jamming ‘If I Were a Bell’ at Smalls at 3:30am in the morning. I know it’s a long shot but it’s worth a try. This is because at the end of the day, you learn from your actions.

MORE PICTURES

VINCENT HERRING at SMOKE, New York City

Vanguard Jazz Orchestra at Village Vanguard, New York City

Jam Session at Mezzrow Jazz Club, New York City

ALL BUT TWO jazz bars I went in the US was overground.

Masami Kuroki at Rhythm Room, Los Angeles

Written by Tete with help and inspiration from Aya Sekine: Somewhen in early 2019

tetesaxman.com

welovejazz.org

#singapore #singaporejazz #berklee #newyorkjazz #lasalle #welovejazz #welovejazzsg

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mastcomm · 4 years

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Peter Serkin, 72, Dies; Pianist With Pedigree Who Forged a New Path

Peter Serkin, a pianist admired for his insightful interpretations, technically pristine performances and tenacious commitment to contemporary music, died on Saturday morning at his home in Red Hook, N.Y., in Dutchess County, near the campus of Bard College, where he was on the faculty. He was 72.

His death, from pancreatic cancer, was announced by his family.

Mr. Serkin was descended from storied musical lineages on both sides of his family. His father was the eminent pianist Rudolf Serkin; his maternal grandfather was the influential conductor and violinist Adolf Busch, whose musical forebears went back generations.

By 12, Peter Serkin was performing prominently in public, and he soon seemed poised to continue the legacy of his father, who was known for authoritative accounts of the central European repertory.

His first two recordings, made for the RCA label when he was 18, confirmed this impression. One was a buoyant, lucid and probing account of Bach’s “Goldberg” Variations that many critics compared favorably to Glenn Gould’s influential version; the other was a glowing, preternaturally mature account of Schubert’s spacious late Sonata in G, Op. 78.

Yet, though he was proud of his heritage, Mr. Serkin found it a burden. Like many who came of age in the 1960s, he questioned the establishment, both in society at large and within classical music. He resisted a traditional career trajectory and at 21 stopped performing, going for months without even playing the piano.

He traveled to India, touching down in Nepal and Thailand, and lived for a while in Mexico with his wife at the time, Wendy Spinner, and their baby daughter.

Recalling those years in a 1987 interview with The Boston Globe, Mr. Serkin said that back then performing was often “a painful ordeal” for him, and that he could not bear all “that harping by musicians and critics on how you play, as if that’s the central issue.”

This pressure was compounded, he added, by the fact that his family “took music so seriously, in the Old World sense of being a kind of religion,” and maintained “such identification with our being musicians” that it was necessary “for me to just drop that.”

By challenging his legacy, he sought to claim it on his own terms, and contemporary music became central to his artistic identity. Yet Mr. Serkin disliked being called a “champion” of contemporary music, as if the music of his own time occupied some different realm and required expert advocates.

Throughout his career, he presented recital programs that juxtaposed the old and the new: 12-tone scores and Mozart sonatas; thorny pieces by the mid-20th-century German composer Stefan Wolpe and polyphonic works from the Renaissance. Admirers of his playing appreciated how he drew out allusions to music’s past in contemporary scores, while conveying the radical elements of old music.

He played almost all the piano works of Schoenberg, Stravinsky and Wolpe. He also introduced dozens of pieces, including major works and concertos, written for him by composers like Toru Takemitsu, Charles Wuorinen and, especially, his childhood friend Peter Lieberson.

Reviewing Mr. Serkin’s 1985 recording of Mr. Lieberson’s Piano Concerto No. 1, with the Boston Symphony Orchestra conducted by Seiji Ozawa, the critic Tim Page wrote in The New York Times that Mr. Serkin seemed to him “America’s pre-eminent young pianist — his intelligence and perceptivity invariably take the listener to the heart of the music.”

Peter Adolf Serkin (his middle name was in honor of his grandfather) was born in Manhattan on July 24, 1947, the fifth of seven children of Rudolf Serkin and Irene Busch Serkin. (A daughter died in infancy.) During his childhood he mostly lived on his parents’ farm in Guilford, Vt., not far from Marlboro College, the site of the summer Marlboro Music Festival, founded by a group of artists including Rudolf Serkin and his grandfather Adolf Busch.

Irene Serkin, like her father, played the violin, which was young Peter’s first instrument. But he was drawn more to the piano.

Nevertheless, Rudolf Serkin acknowledged that he had not given his son much encouragement early on. “I doubted he was talented,” he said in a 1980 New York Times Magazine profile of his son. “He was so full of tension when he played; I didn’t realize that was his real gift.” He said that having been compelled by his own father to be a musician, he “was reluctant to push Peter.”

At 11, Peter Serkin enrolled at the Curtis Institute in Philadelphia, where his father was teaching. (Rudolf Serkin later became the institute’s director.) There he studied with the master Polish-born pianist Mieczyslaw Horszowski, who became a major influence, as well as the American virtuoso Lee Luvisi and his father.

After graduating at 18, Mr. Serkin took an apartment in New York, avidly listened to recordings by Frank Zappa and the Grateful Dead, and explored Buddhist and Hindu spiritual teachings. He found the pressure of playing in public, and simply of being a Serkin, almost crippling.

“Up until then I was playing concerts largely out of compulsion, and not much new music,” he said in a 1973 New York Times interview. “I had just fallen into it without ever deciding for myself that it was what I wanted to do.”

After his time off and restorative travels, he resumed performing with renewed satisfaction. That he had found the right balance was suggested by the success of two three-LP albums, both recorded in 1973, when he turned 26, both of which earned Grammy Award nominations.

The first offered Mozart’s Piano Concerto Nos. 14-19, with Alexander Schneider conducting the English Chamber Orchestra. The performance splendidly balanced Schneider’s Old World approach to Mozart with Mr. Serkin’s youthful, rethought playing.

The second was a complete account of Messiaen’s “Vingt Regards sur l’Enfant-Jésus,” a set of 20 solo piano “contemplations” on the infant Jesus composed in 1944. It is music of extraordinary difficulty lasting two and a half hours, alive with cluster chords and evocations of bird calls, moments of mystical bliss and stretches of driving intensity.

In conjunction with the recording Mr. Serkin played the piece, from memory, more than two dozen times in concert halls and colleges, sometimes backed by a light show. Messiaen heard him play it at Dartmouth and was “really too kind,” the pianist recalled in the Boston Globe interview: “He told me that I respected the score, but that when I didn’t, it was even better.”

That same year he formed the chamber ensemble Tashi along with three like-minded colleagues: the clarinetist Richard Stoltzman, the violinist Ida Kavafian and the cellist Fred Sherry. The group’s signature piece was Olivier Messiaen’s “Quartet for the End of Time,” an alternately meditative and ecstatic work in eight movements lasting nearly 50 minutes. Tashi performed it more than 100 times, often with its young players dressed in dashikis or tunics, and recorded it to acclaim in 1975. The group essentially disbanded in the late 1970s after several internal upheavals.

Though Mr. Serkin never completely shook off the early perception of him as “the counterculture’s reluctant envoy to the straight concert world,” as the Times critic Donal Henahan called him in an admiring 1973 profile, over time he reconciled to the ways, even the dress protocols, of that classical world and developed productive associations with artists like the Guarneri String Quartet, the mezzo-soprano Lorraine Hunt Lieberson (who had married Peter Lieberson) and the conductors Seiji Ozawa, Herbert Blomstedt, Robert Shaw and Pierre Boulez.

Having children also gave him an emotional mooring that he cherished, even during periods of marital strain. Karina Serkin Spitzley, the only child of his marriage to Ms. Spinner, which ended in divorce in 1979, survives him, along with four children from his second marriage, to Regina Touhey Serkin (from whom he was divorced in 2018): Maya, Elena, Stefan (named after Stefan Wolpe) and William Serkin; and two grandchildren. His brother, John, and his sisters Elizabeth, Judith and Marguerite also survive him. Another sister, Ursula, died last year.

Mr. Serkin relished teaching, and held posts at institutions including the Mannes School of Music and the Juilliard School in New York, and, in recent years, Bard. He so enjoyed spending summers teaching at the Tanglewood Music Institute that he bought a home in the Berkshires and lived there for years.

During the 1989-90 season, realizing a long-held ambition, he took a program of 11 works he had commissioned on an extended tour. The composers included the elder masters Takemitsu, Leon Kirchner, Hans Werner Henze, Alexander Goehr and Luciano Berio, as well as Mr. Serkin’s contemporaries Oliver Knussen, Bright Sheng, Christine Berl, Tobias Picker, Tison Street and Mr. Lieberson. To prepare, Mr. Serkin had played no solo recitals the previous season.

“Not many people would make that kind of sacrifice,” Walter Pierce, a concert presenter in Boston who arranged for Mr. Serkin to play the program at Jordan Hall, said at the time, since it represented a “year out of the circuit” and would cost an artist “a lot of money.”

To that Mr. Serkin answered: “Maybe I’ll pay some kind of price in my career, but I don’t even think about it. I’d rather deal with something I believe in.”

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lukasaug32864097-blog · 5 years

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jazzworldquest-blog · 5 years

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USA: Machito & the Impact of the Afro-Cubans #jazz #cuba #hostos

Tickets & Info

Hostos Center for the Arts and Culture announces complete schedule, artistic personnel and activities for Machito & the Impact of the Afro-Cubans at 80 May 2 – 4, 2019

(Bronx, NY) – Modeled after the highly acclaimed retrospective of Tito Puente in 2017, the Hostos Center for the Arts & Culture will honor the late iconic singer and bandleader Francisco “Machito” Grillo (1908-1984) and his Orchestra (the Afro-Cubans) in a 3-day celebration May 2-4 on the campus of Hostos Community College, 450 Grand Concourse (at 149th Street), in the Bronx. “Machito & the Impact of the Afro-Cubans at 80” examines the Orchestra’s influence on a variety of Latin musical styles, including Latin jazz that affected the music of Dizzy Gillespie, Charlie Parker, Stan Kenton and others. The festival’s ten events, many free, also delve into the careers and impact of Machito's family members and musical partners in the Afro-Cubans – Mario Bauzá (1911- 1993) and vocalist Graciela (1915-2010), known as the “First Lady of Latin Jazz.” Bauzá, was a talented multi-instrumentalist who served as musical director of his brother-in-law’s orchestra and encouraged Machito to embrace American jazz with Cuban rhythms. After Machito was drafted in the Army, Bauzá brought Machito’s sister Graciela (Peréz-Gutiérrez) from Cuba to join the band as lead singer. After Machito’s return from service, the three shared the stage for 32 years, topping the charts and reigning supreme at New York’s Palladium Ballroom in its heyday. Machito was the eldest of “The Three Kings” – the moniker given to the celebrated band leaders that performed at the Palladium – the others being Tito Puente, who was a timbalist in Machito’s Afro-Cubans in 1941, and the singer Tito Rodríguez who made his last public appearance with Machito in 1973. Under the artistic direction of Machito's son, Mario Grillo, as well as Jazz at Lincoln Center Orchestra bassist and composer Carlos Henríquez and Latin music historian Joe Conzo, Sr., the festival is designed for both Machito enthusiasts and those less familiar with his music. Henríquez leads “Machito and Beyond” on Thursday, May 2, at 7:30 PM, in a concert that includes acclaimed vocalist Cita Rodríguez, a host of New York’s top young jazz musicians, plus some legendary percussion veterans, for a youthful take on some Machito classics. Bobby Sanabria & Ascensión will take to the stage in a free family concert on Saturday, May 4, at 11 AM, with an informative performance demonstrating how Machito & the Afro-Cubans brought Cuban forms to Latin jazz. The final concert on Saturday, May 4 at 7:30 PM features The Machito Orchestra in its 80th Anniversary concert under the direction of Mario Grillo, who carries on his father's legacy, and featuring guest vocalist and two-time Grammy winner Herman Olivera. In addition to these concerts, the three-day celebration includes listening sessions, a panel discussion, a film presentation, a museum exhibit with tour, a Latin rhythm workshop, and a closing Mambo Dance Party in the Hostos Café. Tickets, including 3-day passes for $45, and a schedule of events are available atwww.hostoscenter.org or by calling (718) 518-4455. EVENTS Listening Room Prior to the Thursday evening and Saturday evening concerts, in the Longwood Art Gallery @ Hostos beginning at 6 PM, Joe Conzo, Sr., presents “The Listening Room,” one hour sessions that will include information and musical anecdotes about the concerts as well as never before heard recordings of Machito from different periods. Among the many rare recordings, include performances of Machito with Charlie Parker and Ella Fitzgerald. Conzo, who has lectured on Machito and Latin music for Hostos Community College’s Continuing Education division for the last six years, has an unmatched collection of Machito live recordings. Admission is free, and includes a complimentary glass of wine. Opening Concert: Machito and Beyond For the opening concert, “Machito and Beyond” on Thursday, May 2, at 7:30 PM in the Main Theater, Jazz at Lincoln Center Orchestra bassist / composer / arranger Carlos Henríquez directs an ensemble of top young jazz artists augmented by a veteran percussion section. They will perform a curated selection of Machito’s music including songs of Graciela sung by guest vocalist Cita Rodríguez. The percussionists -- former member of The Machito Orchestra and longtime musical director of the Tito Puente Orchestra José Madera, whose father was an original member of the Afro-Cubans, Machito/Puente veteran Louis Bauzo and Puente alumnus John “Dandy” Rodríguezwill be featured in “Bongo Fiesta” and other tunes. The concert will also include a world premiere of long-time Machito Orchestra saxophonist / composer / arranger Ray Santos. Orchestra seating is $25 and Mezzanine seating is $20; $5 for students and under 18. (See below for details) Exhibit Tour To continue the celebration on Friday, May 3 at 6:30 PM, Joe Conzo, Sr., will lead a guided tour of the exhibit Machito and Mario: The Roots of Afro-Cuban Jazz in the C-Atrium. Conzo, the author of Mambo Diablo: My Journey with Tito Puente is currently writing a book on the “Big Three” bandleaders—Machito, Tito Puente, and Tito Rodríguez. The exhibit was developed by and is on loan from the National Jazz Museum in Harlem. Film Screening A presentation of the biographical documentary Machito: A Latin Jazz Legacy (1987) by Carlos Ortiz will be held on Friday, May 3, at 7:30 PM in the Repertory Theater. One-of-a-kind street performances from Cuba to New York, dancing scenes at the Savoy, the Palladium and the Apollo Theater, and commentary by Dizzy Gillespie, Ray Barretto, Dexter Gordon, and Machito himself all come together to trace his music from its roots in Cuba to its impact in New York. Jon Pareles of The New York Times calls the film “hugely informative, with astonishing archival footage.” Following the screening, a post-film discussion will be moderated by Columbia University Professor and trombonist Chris Washburne with Machito's son, Mario Grillo, and author and historian Joe Conzo, Sr.Admission is free, but tickets are required. (See below for details.) Family Concert: “What Made Machito & the Afro-Cubans Musical Groundbreakers?” Eight-time Grammy nominee Bobby Sanabria brings his nonet Ascensión to the Repertory Theater on Saturday, May 4, at 11 AM for a free family concert. A Bronx native who is on the faculty of the Manhattan School of Music as well as the Jazz & Contemporary Music Program at the New School, Sanabria and his ensemble will delight all ages as they perform the music of the Afro-Cubans. This lively and informative performance examines how Machito fused the Cuban forms of son, bolero, and mambo with jazz. While admission to the concert is free, tickets are required. “En Clave con Machito” Latin Rhythm Section Workshop Following the family concert at 1:30 PM, Mario Grillo and The Machito Orchestramembers lead a Rhythm Section Workshop in the Repertory Theater. They will discuss, demonstrate, and answer questions on what makes a Latin rhythm section work, demonstrating how congas, bongos, and timbales complement the bass and piano, which is now the standard in Latin music. In addition to Mario Grillo on timbales and percussion, the workshop includes Eddie Montalvo (congas), Luis Mangual, Jr. (bongos), Gilberto 'Pulpo' Colón (piano), and Jerry Madera, bass. The workshop is hosted by the percussionist / educator Annette A. Aguilar. All ages are welcome. Admission is free, but registration is required (See below for details). Panel Discussion A panel discussion entitled “Machito, Bauzá, & Graciela: Creating a Genre that Endures” follows in the Repertory Theater at 3:30 PM. Loren Schoenberg, Founder and Senior Scholar of the National Jazz Museum in Harlem, moderates this discussion of the trio's lasting impact on Latin jazz and Latin music. Panelists include: percussionist and Musical Director of The Machito Orchestra, Mario Grillo; archivist / biographer, Joe Conzo, Sr., saxophonist / composer / arranger Ray Santos; percussionist / bandleaderBobby Sanabria; author / historian René López and vocalist / educator Cita Rodríguez. Admission is free, but tickets are required. (See below for details). Closing Concert The Machito Orchestra performs a historic “80th Anniversary Concert” at 7:30 PM in the Main Theater, with Musical Director and Percussionist Mario Grillo leading the tribute to his father’s work. Guest vocalist, Herman Olivera, the noted sonero who, among his many achievements, has been lead vocalist for Eddie Palmieri, will take on the singer's role. In addition to Machito hits such as “Cuban Fantasy” and “Mambo Inn,” the concert will include some rare gems. Orchestra seating is $35 and Mezzanine seating is $25; $5 for students and under 18. (see below for details) Dance Party The festival ends with a Mambo Dance Party in the Hostos Café immediately following the performance at approximately 9:30 PM. Warrior DJ Roy will spin Machito’s hits for dancing. Tickets are $10 and include two beverage tickets for wine or a soft drink. The Dance is available for concert ticket holders only. Tickets can be purchased by calling (718) 518-4455 or online at www.hostoscenter.org. All reservations and registrations for free events can be made by calling (718) 518-4455. Weekend passes for both evening concerts and the dance party can be purchased for $45 and include the best available seats. Box Office window hours are Mon. – Fri., 1 PM to 4 PM, and 2 hours prior to events. Hostos Community College can be reached by the IRT 2, 4, 5, and busses Bx1, Bx2, Bx19 to East 149th Street and the Grand Concourse. “Machito and the Impact of the Afro-Cubans at 80” is sponsored by the Hostos Community College Foundation with funds from: the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, The Howard Gilman Foundation, the New York State Office of Parks, Recreation and Historic Preservation, the Office of New York State Assemblyman José Rivera, and the Office of New York City Councilmember Rafael Salamanca, Jr. A Listing of Events and Biographies of the Artistic Directors and Vocalists Follow:

The full schedule of events for Machito and the Impact of the Afro-Cubans at 80: Thursday, May 2 Music/Talk: Listening Room with Joe Conzo, Sr. Longwood Art Gallery @ Hostos, 6:00 PM Free Admission Opening Concert: “Machito & Beyond” with Carlos Henríquez Ensemble & guest vocalist Cita Rodríguez (with percussionists José Madera, Louis Bauzo, and John “Dandy” Rodríguez) Main Theater, 7:30 PM Orch: $25 Mezz: $20 (Students and Under 18: $5) Friday, May 3 Exhibit Tour: “Machito and Mario: The Roots of Afro-Cuban Jazz” with Joe Conzo, Sr. C –Atrium, 6:30 PM Free Admission Film: “Machito: A Latin Jazz Legacy” Panel discussion follows moderated by Chris Washburne Repertory Theater, 7:30 PM Free Admission (Tickets Required: 718-518-4455) Saturday, May 4 Family Concert: “What Made Machito & the Afro-Cubans Musical Groundbreakers?” Bobby Sanabria & Ascensión Main Theater, 11 AM Free Admission (Tickets Required: 718-518-4455) (Saturday May 4, Continued) Workshop: “Machito en Clave” Latin Rhythm Section Repertory Theater, 1:30 PM Free Admission (Registration Required: 718-518-4455) Guest Artists: Mario Grillo, Eddie Montalvo, Luis Mangual, Jr., Gilberto 'Pulpo' Colón, Jerry Madera; hosted byAnnette A. Aguilar Panel: “Machito, Bauzá, & Graciela: Creating a Genre that Endures” Repertory Theater, 3:30 PM Free Admission (Tickets Required: 718-518-4455) Participants: Loren Schoenberg, moderator, Mario Grillo, Joe Conzo, Sr., Ray Santos, Bobby Sanabria, René López, Cita Rodríguez Music/Talk: Listening Room with Joe Conzo, Sr. Longwood Art Gallery @ Hostos, 6:00 PM Free Admission Closing Concert: The Machito Orchestra 80th Anniversary Concert led by Mario Grillo Main Theater, 7:30 PM Orch: $35 Mezz: $25 (Students and Under 18 - $5) Dance Party: Mambo Dance Party Hostos Café (Third floor), 9:30 PM (approx.) $10 (includes two beverage tickets for wine/soft drink) Limited Capacity. Concert ticket holders only. Francisco “Machito” Grillo (1908-1984) played a huge role in the history of Latin jazz, for his bands of the 1940s were probably the first to achieve a fusion of powerful Afro-Cuban rhythms and jazz improvisation. At its roaring best, the band had a hard-charging sound, loaded with jostling, hyperactive bongos and congas and razor-edged riffing brass. Machito was the front man, singing, conducting, shaking maracas, while his brother-in-law Mario Bauza was the innovator behind the scenes, getting Machito to hire jazz-oriented arrangers. The son of a cigar manufacturer, Machito became a professional musician in Cuba in his teens before he immigrated to America in 1937 as a vocalist with La Estrella Habanera. He worked with several Latin artists and orchestras in the late '30s, recording with the then-dominant Latin bandleader Xavier Cugat. After an earlier aborted attempt to launch a band with Bauza, Machito founded the Afro-Cubans in 1940, taking onBauza the following year as music director where he remained for 35 years. After making some early 78s for Decca, the Afro-Cubans really began to catch on after the end of World War II, appearing with -- and no doubt influencing -- Stan Kenton's orchestra (Machitoplayed maracas on Kenton's recordings of "The Peanut Vendor" and "Cuban Carnival") and recording some exciting sides for Mercury and Clef. Upon Bauza's urging, Machito'sband featured a galaxy of American jazz soloists on its recordings from 1948 to 1960, including Charlie Parker (heard memorably on "No Noise"), Dizzy Gillespie, Flip Phillips, Howard McGhee, Buddy Rich, Harry "Sweets" Edison, Cannonball Adderley, Herbie Mann, Curtis Fuller and Johnny Griffin. Playing regularly at New York's Palladium,Machito's band reached its peak of popularity during the mambo craze of the 1950s, survived the upheavals of the '60s and despite the loss of Bauza in 1976, continued to work frequently in the '60s, '70s, and early '80s when the term "salsa" came into use. The band recorded for Pablo (in tandem with Gillespie) and Timeless in its later years, and was playing Ronnie Scott's club in London in 1984 when Machito suffered a fatal stroke. A documentary film by Carlo Ortiz, Machito: A Latin Jazz Legacy, was released in 1987. – Richard Ginnell All Music

Mario Bauzá (1911 – 1993) was an Afro-Cuban jazz musician. He was one of the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had popular jazz tunes in their repertoire for years, Bauzá's composition "Tangá" was the first piece to blend jazz with clave, and is considered the first true Afro-Cuban jazz or Latin jazz tune. Bauzá had been hired as lead trumpeter and musical director for Chick Webb's Orchestra by 1933, and it was during his time with Webb that Bauzá both met fellow trumpeter Dizzy Gillespie and discovered and brought into the band singer Ella Fitzgerald. Importantly, Bauzá introduced the young Havana virtuoso Chano Pozo to Dizzy, when the latter wanted to add a Cuban percussionist to his band; though Pozo was killed in a Harlem bar fight just a year later, he left an indelible and long-lasting mark on Dizzy's playing and compositions, co-writing several legendary compositions such as "Manteca" and "Tin Tin Deo". In 1938 Bauzá joined Cab Calloway's band, later convincing Calloway to hire Dizzy Gillespie as well. Bauzá continued to work with Gillespie for several years after he left Calloway's band in 1940. The fusion of Bauzá's Cuban musical heritage and Gillespie's bebop culminated in the development of cubop, one of the first forms of Latin jazz. In 1941, Bauzá became musical director of Machito and his Afro-Cubans, a band led by his brother-in-law Machito. The band produced its first recording for Decca in 1941, and in 1942 Bauzá brought in a young timbalero named Tito Puente. "Cubop City" and "Mambo Inn" followed the success of "Tanga." Machito and his Afro-Cubans often played straight-ahead big band mambomusic. Many of the numbers were covers of recordings which had proved popular in Cuba. The band played mambo-style dance numbers at venues such as Manhattan'sPalladium Ballroom. Bauzá kept his post as director of the Afro-Cubans until 1976. After this he worked sparingly, but was always highly respected. – Wikipedia. Graciela Pérez Gutiérrez (1915-2010) was born in Havana, Cuba and raised in the Afro-Cuban Jesús María neighborhood. A pioneer in music, as a black Cuban woman, in a so-called man's world, she opened doors for all those who followed her. She performed around the world, recording and sharing the stage with her adoptive older brother, Frank "Machito" Grillo, who encouraged her to sing. They played alongside Mario Bauzá(originator of the genre of Afro-Cuban Jazz) in the world-renowned orchestra Machito and the Afro-Cubans. Graciela was primarily known for her tremendous voice, risque and sassy stage presence and sexy double entendre lyrics. She could sing a jazzy guarachaas easily as handling the most romantic boleros. Though her last names were Pérez Gutiérrez, she was only known by her first name, "Graciela", long before doing so became widely fashionable among musicians. She was summoned to New York City in 1943 by Mario Bauzá, when Machito was drafted into the army. She joined the orchestra as lead singer until Machito returned in 1944 and from then on the three shared the stage together until their untimely split in 1975. For thirty-two years they were on top of the charts and were the orchestra not only to beat, but to emulate. Not only did they travel the United States and the rest of the world, but they were leaders and reigned supreme during the heyday of the Palladium Ballroom (where blacks, Jews, Italians and Hispanics, and celebrities would converge to dance), from 1946 until it’s closing in 1966. Besides the Palladium, they would perform at the Royal Roost, Birdland, the Park Palace, the Corso and the Apollo Theater on a yearly week-long gig—and many other clubs and theaters in New York. Graciela and the orchestra also performed on a yearly basis in Hollywood—specifically at the Crescendo nightclub.. They were also the summer headliners in theConcord Resort Hotel, in the Catskills Mountains, for more than twenty years. They recorded albums in which her best-known songs include "Esta es Graciela", "Íntimo y Sentimental" and "Esa Soy Yo, Yo Soy Así." – Wikipedia About Mario Grillo Mario Grillo is old enough to have caught the tail end of the Mambo craze, and to have played with his father, yet young enough to have absorbed the groundbreaking trends that influenced Latin jazz. Grillo played timbales, congas and bongos when he made a debut with his father’s band, The Machito Orchestra, at the age of five. In 1975, he joined the band for its Grammy-nominated recording Afro-Cuban Jazz Moods with Dizzy Gillespie and featured arrangements by Chico O'Farrill. Grillo, often known as “Machito, Jr.,” toured Europe with Machito and took over the duties of musical director in the band in 1977, the year that they earned another Grammy nomination for Fireworks—when Lalo Rodríguez changed the tone as co-lead singer. Committed to keeping his father's legacy alive, the renowned percussionist has since returned to venues around the world with The Machito Orchestra. A native New Yorker, he has led the orchestra for more than 40 years at home and abroad. In 2015, he donated Machito's handwritten scores and arrangements to the Library of Congress. Most recently, Grillo has been performing and recording with the Dizzy Gillespie Afro Cuban Experience under the direction of bassist John Lee. About Carlos Henríquez Carlos Henríquez was born in 1979 in the Bronx. He studied music at a young age, played guitar through junior high school and took up the bass while enrolled in The Juilliard School’s Music Advancement Program. He entered LaGuardia High School of Music & Arts and Performing Arts and was a member of the LaGuardia Concert Jazz Ensemble, which went on to win first place in Jazz at Lincoln Center’s Essentially Ellington High School Jazz Band Competition and Festival in 1996. In 1998, swiftly after high school, Henríquez joined the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra, touring the world and being featured on more than 25 albums. Henríquez has performed with Chucho Valdés, Tito Puente, the Marsalis Family, Willie Nelson, Bob Dylan, Stevie Wonder, Marc Anthony, and many others. He has been a member of the music faculty at Northwestern University School of Music since 2008, and was music director of the Jazz at Lincoln Center Orchestra’s cultural exchange with the Cuban Institute of Music with Chucho Valdés in 2010. He has led many concerts at Jazz at Lincoln Center including programs on Tito Puente, Machito, Dizzy Gillespie and, most recently, for a program of his own compositions under the title “The South Bronx Story.” About Joe Conzo Sr. Historian Joe Conzo, Sr., who is currently writing a book on the “Big Three” bandleaders Machito, Tito Puente, and Tito Rodríguez, owns an unrivaled collection of Machito live recordings. He is the producer of many recordings by Latin artists on prestigious labels such as Sony Music and Pablo. Conzo lectures for Jazz @ Lincoln Center, the Smithsonian and other organizations, and, since 2013, has taught a continuing education course on Latin music and Latin Jazz at Hostos with a focus on Puente, Rodríguez and Machito. A long-time Puente publicist and confidant, he penned the acclaimed book “Mambo Diablo: My Journey with Tito Puente” and produced more than 20 benefit concerts for the Tito Puente Scholarship Fund. He also currently serves as the Director of the Tito Puente Legacy Project – an archive of Puente memorabilia based at the school. About Cita Rodríguez Cita Rodríguez, the daughter of the famed salsa singer Pete “El Conde” Rodríguez, was born in the Bronx and attended Boys and Girls Harbor School in Spanish Harlem, where she studied flute and sang in the chorus. She moved with her family to Puerto Rico in 1979, and soon after she appeared frequently with her father’s band. While a student at the Puerto Rico Conservatory of Music, Rodríguez became part of the salsa group Los Hijos de Salsa, which involved recording and touring. In 1991, after the family returned to New York, Rodríguez and her brother, Pete became part of the group Generaciónes with her father. Since her father’s passing in 2000, she has performed and recorded with her own group as well as being a featured vocalist (often performing Graciela tunes) with the Mambo Legends and other groups. About Herman Olivera Born to Puerto Rican parents in Newark, New Jersey, Herman Olivera began his career in New York City where he earned his reputation as a “sonero,” that is, an expert in the demanding art of lyric extemporization. He began performing in his early teens and achieved international recognition in the early 1980s as the lead singer of Conjunto Libre. He then went on to form recording and performance collaborations with Johnny Pacheco, Ray Barretto, The Machito Orchestra, and Israel ‘Cachao’ Lopez, among many others. In the late 1990s, Olivera assumed the prestigious role of lead vocalist for the Eddie Palmieri Orchestra. To date Herman has recorded on over 45 albums, received four Grammy nominations and is the recipient of two Grammy awards. In 2014, he recorded his debut album titled La Voz del Caribe. About the Hostos Center for the Arts & Culture The Hostos Center for the Arts & Culture consists of a museum-grade art gallery, a 367-seat Repertory Theater, and a 900-seat Main Theater, presenting artists of national and international renown. It is easily accessible from Manhattan, Queens and New Jersey and is a mere 15 minutes by subway from midtown Manhattan. www.hostoscenter.org About Hostos Community College Hostos Community College is an educational agent for change, transforming and improving the quality of life in the South Bronx and neighboring communities since 1968. Hostos serves as a gateway to intellectual growth and socioeconomic mobility, and a point of departure for lifelong learning, success in professional careers, and transfer to advanced higher education programs. The College’s unique “student success coach” program, which partners students with individualized guidance, is emblematic of the premier emphasis on student support and services. Hostos Community College is part of CUNY, the nation’s leading urban public university serving more than 480,000 students at 24 colleges. https://www.hostos.cuny.edu/

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Hostos Community College 450 Grand Concourse Bronx, New York 10451 Box Office (718) 518-4455 www.hostoscenter.org Press contact: Jim Eigo Jazz Promo Services 272 State Route 94 South #1 Warwick, NY 10990-3363 Ph: 845-986-1677 Cell / text: 917-755-8960 Skype: jazzpromo E Mail: [email protected] www.jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events.” John MacElwee - 718-518-6539, [email protected]

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ulyssessklein · 6 years

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Steve Vai Announces The Big Mama Jama Jam-A-Thon – SEPT 28-30

Press Release

Source: SKH Music

Steve Vai has announced he will host and serve as the musical director for “The Big Mama Jama Jam-a-thon” — an open, improvisational music/art event where the music doesn’t stop for 52 hours — to be held Sept. 28-30, 2018 at Musicians Institute’s brand new venue, LiveHouse, in Los Angeles, California.

The jam-a-thon will mark the public grand opening of LiveHouse. 100% of the profits raised will benefit Extraordinary Families, a leading nonprofit foster family, adoption agency in the Los Angeles area dedicated to improving the daily lives of children and youths in foster care.

Various professional musicians to be announced (including many of Vai’s friends) and novice musicians, along with celebrities, painters, poets, magicians, visual artists, speakers and other creative performers from all genres are invited to support each other in an “in-the-moment,” continuous 52-hour jam featuring non-stop music and other creative activity.

Vai will be center stage for the majority of the event and will be directing the band and jammers in an impromptu setting.

The festivities, which will commence on Friday, Sept. 28 at Noon Pacific and conclude at 4:00 p.m. Pacific on Sunday, Sept. 30, will be streamed live worldwide via www.jamathon.org, www.vai.com, and Steve’s official Facebook page, alongside other outlets including websites, social media, and cable TV stations. The website www.jamathon.org includes more specifics about the jam-a-thon and outlines various ways to be involved and donate to Extraordinary Families.

“I currently serve on the board of Extraordinary Families and let me tell you, these folks are extraordinary, and do vital work for families and children in L.A.,” said Steve Vai. “It is such an honor to be involved with this organization, and to host something like this that will benefit so many children and families. ‘The Big Mama Jama Jam-a-thon’ will be a ton of fun and a place where anything can happen — expect quite a wild ride!”

“Our organization is so fortunate to have such extraordinary and dedicated supporters who have demonstrated a long-standing commitment as role models for children and youth in foster care,” said Sarah Boone, Chief Executive Officer of Extraordinary Families. “And we welcome more supporters to be someone who matters to someone who matters.”

Stig Mathisen, Chair of the Guitar Program at Musicians Institute (MI) added: “MI is very honored to team up with Steve Vai and Extraordinary Families for this unique charity event and important cause, bringing together the world of music academia and the music industry, benefitting families that are doing an incredibly important job of providing support for children and youth in foster care.”

Entry to the jam-a-thon can be purchased here. Wristbands (good for 4-hour blocks of time) are for sale for $50 on a first-come, first-served basis (these will also be available at the door if spots remain available). Individuals interested in taking to the stage to participate in the jam can purchase and secure a slot on the jam (approximately 10 minutes in duration) during the hours of Midnight PDT to 7 p.m. PDT on Saturday, Sept. 29 and Midnight PDT to 3 p.m. PDT on Sunday, Sept. 30. 100 pre-purchased slots will be made available and guaranteed for a donation of $100 each, while they last.

On-site stage participation passes can be purchased for $150 if schedule and space allows but advance registration is encouraged. Beer, wine, non-alcoholic beverages, and simple munchies will be made available to purchase in the venue.

Auction items plus other unique and fulfilling opportunities to donate to Extraordinary Families will be available online at www.jamathon.org and at various times throughout the live webcast.

About Steve Vai:

A virtuoso guitarist, visionary composer, and consummate producer who sculpts musical sound with infinite creativity and technical mastery, Steve Vai has awed fans of all genres with his exceptional guitar skills and musicianship for decades. At age 12, he started taking guitar lessons from Joe Satriani. At 18, he began his professional music career transcribing for, and then playing with, the legendary Frank Zappa. More than three decades, over 15 million in album sales, and three GRAMMY® Awards later, Vai has proven himself, in his own right, to be one of music’s true originals.

Vai’s work has been recognized with a long list of awards and honors, including over 15 from Guitar Player magazine alone. His career accomplishments have earned him honorary doctorates from Berklee College of Music and Musicians Institute. The 2016 Long Island Music Hall of Fame inductee was voted the 10th “Greatest Guitarist” by Guitar World magazine and consistently lands among the best in various lists of the top guitarists of all time. In 2012, the TEC Foundation honored him with the prestigious Les Paul Award, created in 1991 to salute those who have set the highest standard of excellence in the creative application of technology (past winners include Paul McCartney, Neil Young, Herbie Hancock, Steely Dan, and Bob Clearmountain).

Vai has toured the world as a solo artist (including many performances backed by an orchestra), as a member of G3 and Generation Axe (with Zakk Wylde, Yngwie Malmsteen, Nuno Bettencourt and Tosin Abasi), and with Frank Zappa, David Lee Roth (just after Roth left Van Halen), Alcatrazz, and Whitesnake—at the peak of its popularity. Vai’s full discography encompasses more than 60 albums, including many with Zappa, others from stints with Roth and Whitesnake, as well as live releases, collaborations, compilations, and orchestral works. Two of Vai’s landmark recordings are 1990’s groundbreaking Passion and Warfare, and 2007’s Sound Theories Vol. 1 & 2, performed with the Netherlands’ Metropole Orkest. As an accomplished audio producer, Vai has written, produced, and engineered all of his solo albums, and released many via Favored Nations Entertainment, his own independent record label that has also released over 70 albums by legendary musicians such as Tommy Emmanuel, Steve Lukather, Eric Johnson, Billy Sheehan, Larry Carlton and many more.

About Extraordinary Families:

Over 20,000 children and youth are currently in L.A. county’s child welfare system and are in need of safe loving homes. An average of 1,000 young adults age out of the system every year and are still in need of critical resources and support. Extraordinary Families finds families for children in foster care, and provides employment services, education planning, resource coordination, and mentoring to foster youth transitioning to out of child welfare and into adulthood.

Extraordinary Families’ mission is to help children and youth in foster care to have the childhoods and futures they rightfully deserve. The organization’s vision is that every child, youth, and family in child welfare will have the ability to achieve their hopes, fulfill their dreams, and thrive. Extraordinary Families was formed in 2015 with the merger of two robust nonprofits: Southern California Foster Family and Adoption Agency (SCFFAA) with a 20-year history of direct fost/adopt services, and Child Welfare Initiative (CWI) founded in 2007 to advance advocacy and policy initiatives.

About Musicians Institute:

Located in the heart of Hollywood, California, Musicians Institute (MI) is a world-renowned music college dedicated to inspiring artistic and academic excellence while preparing students for careers in the music and entertainment industry.

Musicians Institute provides an innovative education that prepares graduates for creative and professional careers in the contemporary music industry. MI is dedicated to providing comprehensive instruction, facilities and other resources to support and inspire artistic and professional accomplishment. MI connects students to the global music industry with all the tools they need to enhance their careers and pursue their artistic dreams.

About LiveHouse on the Musicians Institute Campus (the venue for the event):

As a welcoming, multi-purpose, arts-centered, community-rooted venue in the heart of Hollywood, Musicians Institute’s newly built LiveHouse is an 11,000 square-foot music venue, student lounge, and dance studio, all under one roof.

The 300-person capacity venue incorporates a 700 square-foot stage with state-of-the art sound equipment, lights, hi-def LED wall, and broadcasting abilities alongside a greenroom with its own shower and load-in dock.

As aptly noted, this will be “The Venue missing in L.A.”

The Big Mama Jama Jamathon will be the first public event held in LiveHouse.

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incarnationsf · 5 years

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Ben Rosenblum Jazz Trio

Date & Time: Saturday June 22, 7:30 p.m. Venue: Incarnation Episcopal Church, 1750 29th Avenue, San Francisco Tickets: $20 General, $15 Seniors/Students

Brown Paper Ticketing: Buy tickets online Eventbrite Ticketing: Buy tickets online

Ben Rosenblum Jazz Trio

Ben Rosenblum – piano/accordion Greg Feingold – bass Ben Zweig – drum

#jazz #jazz music #live jazz #live performance #live music #San Francisco Live Music #san francisco #sunset district #SunsetDistrictSanFrancisco #jazz trio

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