Harlem Speaks
Pat Martino, Guitarist
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 When the anesthesia wore off, Pat Martino looked up hazily at his parents and his doctors, and tried to piece together any memory of his life.
One of the greatest guitarists in jazz, Martino had suffered a severe brain aneurysm and underwent surgery after being told that his condition could be terminal. After his operations he could remember almost nothing. He barely recognized his parents, and had no memory of his guitar or his career. He remembers feeling as if he had been "dropped cold, empty, neutral, cleansed...naked."
In the following months, Martino made a remarkable recovery. Through intensive study of his own historic recordings, and with the help of computer technology, Pat managed to reverse his memory loss and return to form on his instrument. His past recordings eventually became "an old friend, a spiritual experience which remained beautiful and honest." This recovery fits in perfectly with Pat's illustrious personal history. Since playing his first notes while still in his pre-teenage years, Martino has been recognized as one of the most exciting and virtuosic guitarists in jazz. With a distinctive, fat sound and gut-wrenching performances, he represents the best not just in jazz, but in music. He embodies thoughtful energy and soul.
Born Pat Azzara in Philadelphia in 1944, ha was first exposed to jazz through his father, Carmen "Mickey" Azzara, who sang in local clubs and briefly studied guitar with Eddie Lang. He took Pat to all the city's hot-spots to hear and meet Wes Montgomery and other musical giants. "I have always admired my father and have wanted to impress him. As a result, it forced me to get serious with my creative powers."
He began playing guitar when he was twelve years old, and left school in tenth grade to devote himself to music. During visits to his music teacher Dennis Sandole, Pat often ran into another gifted student, John Coltrane, who would treat the youngster to hot chocolate as they talked about music.
Besides first-hand encounters with Trane and Montgomery, whose album Grooveyard had "an enormous influence" on Martino, he also cites Johnny Smith, a Stan Getz associate, as an early inspiration. "He seemed to me, as a child, to understand everything about music," Pat recalls.
Martino became actively involved with the early rock scene in Philadelphia, alongside stars like Bobby Rydell, Chubby Checker and Bobby Darin. His first road gig was with jazz organist Charles Earland, a high school friend. His reputation soon spread among other jazz players, and he was recruited by bandleader Lloyd Price to play hits such as Stagger Lee on-stage with musicians like Slide Hampton and Red Holloway.
Martino moved to Harlem to immerse himself in the "soul jazz" played by Earland and others. Previously, he had "heard all of the white man's jazz. I never heard that other part of the culture," he remembers. The organ trio concept had a profound influence on Martino's rhythmic and harmonic approach, and he remained in the idiom as a sideman, gigging with Jack McDuff and Don Patterson. An icon before his eighteenth birthday, Pat was signed as a leader for Prestige Records when he was twenty. His seminal albums from this period include classics like Strings!, Desperado, El Hombre and Baiyina (The Clear Evidence), one of jazz's first successful ventures into psychedelia.
In 1976, Martino began experiencing the excruciating headaches which were eventually diagnosed as symptoms of his aneurysms. After his surgery and recovery, he resumed his career when he appeared in1987 in New York, a gig that was released on a CD with an appropriate name, The Return. He then took another hiatus when both of his parents became ill, and he didn't record again until 1994, when he recorded Interchange and then The Maker.
Today, Martino lives in Philadelphia again and continues to grow as a musician. As the New York Times recently noted, "Mr. Martino . . . is back and he is plotting new musical directions, adding more layers to his myth." His experiments with guitar synthesizers, begun during his rehabilitation, are taking him in the direction of orchestral arrangements and they promise groundbreaking possibilities. Musicians flock to his door for lessons, and he offers not only the benefits of his musical knowledge, but also the philosophical insights of a man who has faced and overcome enormous obstacles. "The guitar is of no great importance to me," he muses. "The people it brings to me are what matter. They are what I'm extremely grateful for, because they are alive. The guitar is just an apparatus."
A recently released documentary, Pat Martino Unstrung, explores Pat’s life, musical career and amazing recovery. Be sure not to miss this rare evening of conversation with Martino interviewed by his fellow Philadelphian, bass giant and NJMH co-Director Christian McBride.
Special Event
MONK at The Nuyorican Poets Cafe
7:00pm
Location: The Nuyorican Poets Cafe
(236 East 3rd Street, Between Aves B & C; F or V train to 2nd Ave.)
$25 | Tickets: 212-348-8300 We appreciate greatly every one of the thousands of people that attend our free programs annually. We are asking those that can to help further support our efforts by joining us on January 9 for a special evening with actor/playwright Rome Neal and his superlative one man show, MONK. A donation of $25 will get you a ticket to performance of MONK and also help support the Museum's ambitious and extensive programming for 2009.
The word on MONK:
A Magnificent Job.
— Dr. Billy Taylor
Acting was superb...it was Monk.
— Max Roach
"I experienced Rome Neal play the high master Thelonious Monk. He was fabulous and took me back to the days I spent with Thelonious. Everyone should see this play and experience this great actor."
— Randy Weston
Intense sense of drama...Hypnotic mood.
— Village Voice
A sincere and reverent one-man show.
— Bruce Weber, New York Times
Jazz for Curious Listeners
The 2009 Centennials: Lester Young, Pt. 2
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online Instructor, Loren Schoenberg
Lester Young made history during his years with the Count Basie Orchestra, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that was an influence on altoist Paul Desmond style in the 1950s and thereafter. After leaving Count in 1940, he co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.
Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually may have been at his prime in the mid- to late-'40s. He toured with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time.
Special Event
Christian McBride and Loren Schoenberg: Miles Davis, From Cannonball to Sly Stone
8:00pm
Location: Kresge Auditorium
(Stanford University, 537 Lomita Mall, Stanford, CA 9430 | get directions)
650-725-ARTS (2787) or order online 50 Years of Kind of Blue: A Live Jazz Laboratory
Duo performance by Jazz Museum in Harlem co-directors Christian McBride, double bass and Loren Schoenberg, tenor saxophone, with discussion and film screening exploring Miles Davis and Cannonball Adderley’s rock, funk, and soul influences.
This event is a lead-in to a tribute to Kind of Blue at Stanford, presented on April 18, 2009, with the National Jazz Museum in Harlem All-Stars led by musical director/pianist Jonathan Batiste.
More information
Harlem in the Himalayas
Roswell Rudd / Lafayette Harris Duo
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212.620.5000 ext. 344 Roswell Rudd, trombone
Lafayette Harris, piano
In addition to an original composition inspired by Himalayan art, trombonist Roswell Rudd and pianist Lafayette Harris will play the music of great jazz pianists such as Fats Waller, Herbie Nichols, Thelonious Monk, Billy Strayhorn, Duke Ellington, and James P. Johnson and original music by Roswell Rudd dedicated to these icons.
Roswell Rudd (born Roswell Hopkins Rudd, Jr. in Sharon, Connecticut, on November 17, 1935) is an American jazz trombonist. Although skilled in all styles of jazz (including dixieland, which he performed while in college), he is known primarily for his work in free and avant-garde jazz. Since 1962 Rudd has worked extensively with Archie Shepp, a close friend.
Rudd participated in key free jazz recordings, notably with the New York Art Quartet, on the soundtrack recording for Michael Snow's 1964 film New York Eye and Ear Control, and Michael Mantler & Carla Bley's 1968 Jazz Composer's Orchestra's Communications, featuring Cecil Taylor, Don Cherry, Pharoah Sanders, Larry Coryell and Gato Barbieri. A major factor in Rudd's career has been his lifelong friendship with Steve Lacy and their numerous recordings and performances of the music of Thelonious Monk. Rudd graduated from Yale University, and later taught music-ethnology at Bard College and the University of Maine. On and off for a period of three decades, Roswell Rudd assisted Alan Lomax with his world song style project and the wealth of information on the music of this planet inspired him to collaborate beyond the periphery of western music. Rudd has been a frequent visitor to the African nation of Mali, performing and recording with Malian musicians. His 2001 CD MALIcool, a cross-cultural collaboration with kora player Toumani Diabat and other Malian musicians represented the first time the trombone had been featured in a recording of Malian traditional music. In 2004 he brought his TROMBONE SHOUT BAND to perform at the 4th Festival au Dsert in Essakane, Tombouctou Region, Mali. In 2005 he extended his reach even further, recording a CD with a traditional Buryat music group from Mongolia, entitled Blue Mongol. Rudd conducts master classes and workshops both in the United States and around the world. He co-leads an ensemble with Archie Shepp, as well as touring with MALIcool, the Mongolian Buryat Band, as well as being a featured guest.
Lafayette Harris, known as the “go to” pianist by other musicians and band leaders, in one year alone performed on Broadway with the THE COLOR PURPLE, toured Europe with Ernestine Anderson, played the wedding for the daughter of ABC “World News Tonight” host, Charlie Gibson, and helped raise money for children with cancer in Columbus, OH. Alongside these have been Lafayette’s regular appearances at New York’s Blue Note and weekly open mic session that he hosts at the historic Lenox Lounge in Harlem, widely regarded as the “best vocal jam session” in the city by New York’s weekly listing guides. In between all this, Lafayette has managed to record two new albums in the last year – TRIO TALK, a jazz trio outing and a contemporary funk/fusion project, IN THE MIDDLE OF THE NIGHT.
However, before the A-list musician lifestyle, Lafayette’s formative years were spent in Baltimore, laying the foundation to his craft at church and in private tutelage. By the time he hit his teens Lafayette was a regular on the local Top 40 scene, playing in bands that covered all the classic R&B and funk of the day by acts such as the Ohio Players, Parliament/Funkadelic, the Gap Band and more. However, Lafayette’s heart was very much rooted in jazz and his real hero was fellow Baltimore native Eubie Blake. After hearing Blake play Scott Joplin’s “Maple Leaf Rag” Lafayette was determined to perfect it. He augmented his live work with hard study, receiving a Bachelor of Music from Oberlin Conservatory and then going on to study with master pianist Kenny Barron at Rutgers University in NJ, where he earned a Masters in Jazz Performance.
Moving to New York in the mid 80’s, Lafayette was swept into the intense musical whirlpool that was the Big Apple live scene at that time. Working in well established clubs like the Blue Note, Sweet Basil, and Fat Tuesday’s, the young musician soon garnered a reputation for himself as a name to watch. That reputation earned Lafayette a record deal with Muse Records, resulting in his debut album, aptly titled Lafayette Is Here, featuring then young lions, Terell Stafford (trumpet), Don Braden (tenor saxophone) and rhythm section-mates Lonnie Plaxico (bass) and Cindy Blackman (drums). A second Muse recording, Happy Together, starred The Lafayette Harris Trio plus Melba Moore.
By the early 90’s Lafayette had also become a regular on the European jazz festival circuit, playing alongside the likes of trombonists Slide Hampton and John Gordon and the vocalist Barbara Morrison. Also during this period his former teacher Kenny Barron referred him to master drummer Max Roach. This new relationship resulted in almost 10 years of touring and collaborating with the legendary drummer, prompting him to describe Lafayette as a “phenomenal new voice on the music scene today.”
By the new millennium Lafayette was recruited by guitarist Mark Whitfield to form the group Soul Conversation for Herbie Hancock’s label. Other names Lafayette has played with in recent years include R&B/Broadway diva Jennifer Holliday, jazz legend Billy Taylor and Grammy nominee Ernestine Anderson. Says Lafayette with trademark modesty of his long, illustrious career: “For me it’s definitely great to do something you love and make a living at it. To be able to have a family and a roof over my head because of my success in music is a blessing. If I can keep contributing to the world’s musical sound palette I’ll be satisfied as a musician. When I look at the successes of past and present greats from Duke Ellington to Miles Davis to Herbie Hancock and others, I am amazed at their ability to continue being creative and significant and I’m instantly inspired.”
Jazz for Curious Listeners
The 2009 Centennials: Chick Webb
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online Instructor, Loren Schoenberg
William Henry "Chick" Webb, despite being under five feet tall, was one of the giants of swing and taught us all a lesson about overcoming handicaps. He was born February 10, 1909 in Baltimore. At a young age, he contracted spinal tuberculosis that left him with a hunchback and little use of his legs. Doctors recommended he take up drumming as a remedy for stiff joints. From then on, he took to drumming. After selling newspapers, he saved enough to buy a drum set, which used special custom-pedals, so that he could reach them, due to his small stature. He moved to New York at the age of 17 and started playing with Johnny Hodges, Benny Carter, and Duke Ellington.
In 1927, on the advice of Ellington, Webb formed a quintet called the Harlem Stompers. He started playing at one of Harlem's largest night clubs, the Savoy, and won over crowds with his flamboyant style. In 1931, he formed the Chick Webb Orchestra. The band became the house band for the Savoy, with such songs as “Stompin At The Savoy”, “If Dreams Come True”, and “Blue Lou.” Although Webb could not read music, he memorized every piece and led the band from a raised platform, cueing in the sections with his drumming. He was the consummate showman and because of his fluid and rhythmic style, he was perfectly suited for the swing era. He was also a major competitor. His orchestra owned the Savoy and faced down many challenges in "battle of the bands" contests, from the likes of Benny Goodman, Count Basie, and Duke Ellington. Gene Krupa reportedly spoke in shell-shocked tones of being in awe of Webb, after Webb blew him away when his orchestra dueled Benny Goodman's, which occurred only a few months before Webb died at the age of 30 of the Spinal Tuberculosis in 1939. Art Blakey and Ellington both credit Webb with influencing their music. Krupa credited Webb with raising drummer awareness and paving the way for drummer-led bands, which Krupa would later employ. His thundering solos created a complexity and an energy that paved the way for Buddy Rich (who studied Webb intensely) and Louie Bellson.
Recordings never did Webb justice, because the technology was just too primitive. He sought more fame than simply being the "King of the Savoy." In 1935, he hired 17 year old Ella Fitzgerald as vocalist. Shortly thereafter, he adopted the orphaned Fitzgerald. Together, they formed a powerful partnership and recorded over 60 songs in the next 3 years, including "A Tisket, A-Tasket", which remained at the top of the charts for 17 weeks. After Webb died, Ella Fitzgerald took over the orchestra for two years, before they finally broke up.
By 1938, Webb's health began to fail him. Although his health declined, he continued to play, refusing to give up touring, so that his band could remain employed during the Great Depression, disregarding his own discomfort and fatigue, which often found him passing out from physical exhaustion after finishing sets. Finally, he had a major operation at Johns Hopkins Hospital in Baltimore in 1939 and died shortly thereafter. His last reported words were "I'm sorry, I've got to go."
Harlem Speaks
Dave Liebman, Saxophonist
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 David Liebman was born in Brooklyn, New York on September 4, 1946. He began classical piano lessons at the age of nine and saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane perform live in New York City clubs such as Birdland, the Village Vanguard and the Half Note. Throughout high school and college, Liebman pursued his jazz interest by studying with Joe Allard, Lennie Tristano and Charles Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously devote himself to the full time pursuit of being a jazz artist.
In the early 1970s, Liebman took the leading role (as President) in organizing several dozen musicians into a cooperative, Free Life Communication which became an integral part of the fertile New York "loft" jazz scene in the early 1970s and was funded by The New York State Council of the Arts and the Space for Innovative Development. After one year spent with Ten Wheel Drive, one of the early jazz fusion groups, Liebman secured the saxophone/flute position with the group of John Coltrane’s drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when Miles Davis hired him. These years, 1970-74, were filled with tours, recordings and the incredible experience gained by being on the band stand with two masters of jazz. At the same time, Liebman began exploring his own music-first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout Farm. This group recorded for the German based ECM label as well as A&M Records while touring the U.S., Canada, India, Japan and Europe. Lookout Farm was awarded the number one position in the category “Group Deserving of Wider Recognition” in the 1976 Downbeat Magazine’s International Critics' Poll.
In 1977, Liebman did a world tour with pianist Chick Corea followed up the next year by the formation of the David Liebman Quintet with John Scofield, Kenny Kirkland and Terumasa Hino as featured sidemen. After several world tours and recordings by the quintet over three years, he reunited with Richard Beirach. They began performing and recording as a duo, as well as creating the group Quest in 1981. Beginning with bassist George Mraz and drummer Al Foster, the group solidified when Ron McClure and Billy Hart joined in 1984. Through 1991, Quest recorded seven CDs, toured extensively and did many workshops with students worldwide.
Liebman’s present group formed in 1991 includes guitarist Vic Juris, bassist Tony Marino and drummer Marko Marcinko. With these musicians he has pursued an eclectic direction in recording projects that has ranged from jazz standards to Puccini arias, original adaptations from the John Coltrane and Miles Davis repertoires, original compositions in styles ranging from world music to fusion, always maintaining a repertoire that balances the past, present and future.
Over the past several decades, Liebman has often been featured with top European musicians such as Joachim Kuhn, Daniel Humair, Paolo Fresu, Jon Christensen, Bobo Stenson and in the World View Trio with Austrian drummer Wolfgang Reisenger and French bassist Jean-Paul Celea. His reputation in Europe has led to big band and radio orchestra performances, such as with the WDR in Koln, Germany, the Metropole Orchestra of the Netherlands and the new music Klang Forum in Vienna, Austria playing music specially commissioned to feature Liebman's unique soprano saxophone style. He has consistently placed among the top finalists in the Downbeat Critics' Poll since 1973 in the Soprano Saxophone category. As of the present, David Liebman has been featured on nearly 300 recordings, of which he has been the leader and/or co-leader on nearly 100. Well over 200 original compositions have been recorded. His artistic output has ranged from straight ahead classic jazz to chamber music; from fusion to avant garde.
Liebman has published material on a variety of subjects; instructional DVDs, published chamber music and as well over the years he has contributed regularly to various periodicals such as the Saxophone Journal and the International Association of Jazz Educators Journal. He is the author of several milestone books: Self Portrait Of A Jazz Artist, A Chromatic Approach To Jazz Harmony And Melody, Developing A Personal Saxophone Sound and numerous others, several of which have been translated into other languages.
His teaching activities at universities and in clinic settings have taken him literally around the world as a result of his varied musical directions and expertise on several instruments, along with an ability to articulate the intricacies of the jazz language, aesthetic and technique. Over the years, he has regularly received grantees to study with him funded by the NEA (U.S.), the Canadian Arts Council, as well as Arts Councils of numerous European countries. In 1989 he founded the International Association of Schools of Jazz (IASJ), an organization dedicated to networking educators and students from international jazz schools through periodic meetings, exchange programs and newsletters. Liebman presently serves as the Artistic Director of the IASJ. Lieb has scored music for the JazzEx Ballet Company in the Netherlands (early 90’s)and Ocean of Light for Katrina and the Tsunami tragedies(2006).
Liebman has received several distinguished awards including two NEA grants for composition and performance; an Honorary Doctorate from the Sibelius Academy of Helsinki; Finland; a Grammy nomination for Best Solo Performance in 1998 and Best Arrangement for Big Band in 2005; induction into the International Association of Jazz Educator's Hall of Fame in 2000; Artist Grant from the Pennsylvania Council of the Arts in 2005; Jazz Journalist Award for Soprano Sax in 2007. You’ll not want to miss out on this rare evening of conversation with Liebman interviewed by bass giant and NJMH co-Director Christian McBride.
Jazz for Curious Listeners
The 2009 Centennials: Gene Krupa
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online Instructor, Loren Schoenberg
Gene Krupa was born in 1909 the youngest of nine children. He took up drums at age 11 because they were the cheapest instrument at the music store where he worked.
He moved to New York in 1929 where he joined a pit band for the George Gershwin play Strike up the Band. Fellow band members included Glen Miller and Benny Goodman. After working some various gigs, Goodman urged Krupa to leave the pit bands and join his newly forming group, with the promise that they would be a legitimate jazz band. At first, they were relegated to playing dance tunes until Goodman finally cut loose. In 1938, the Goodman Orchestra became the first jazz group to play at New York's Carnegie Hall and Krupa's drum solo on the song “Sing, Sing, Sing,” considered by many to be the first extended drum solo in jazz. Krupa became known as the father of the jazz drum solo, and his popularity grew to the point where audiences wanted him to solo on every song. This created tension between Goodman and Krupa because Goodman did not want to be upstaged by one of his sidemen.
Krupa left Goodman's Orchestra in 1938 and formed his own big band. He also authored the book The Gene Krupa Drum Method and began an annual drum contest with Louis Bellson winning the first contest. He also became a matinee idol with his work in the movies Beat the Band and Some Like it Hot. After serving 3 months for a bogus drug charge, he reformed his big band in the early 40s and introduced elements of bebop into his music. While many big bands couldn't remain financially afloat as bebop grew in popularity, Krupa managed to keep his full big band together up until 1950 and then toured with a smaller group.
He was signed on for the Jazz at the Philharmonic all-star jam series in the 1950s which featured many famous drum battles with Buddy Rich. In 1954, he co-founded the Krupa-Cole Drum School. In 1959, a movie about his life was made, The Gene Krupa Story, in which Krupa provided the drums on the soundtrack and actor Sal Mineo played Krupa. The resurgence of popularity got teaching and him out of back to performing, however, health problems, including a heart attack in 1960, forced him into early retirement.
A few years later, he came back and joined a re-formed Goodman quartet and toured until his health problems came back. He became an anti-drug lecturer and performed drum clinics. He came back in 1970 and played until he died in 1973 of a heart attack.
Besides bringing the drums to the forefront as a soloing instrument, he also single-handedly built the success of the Slingerland Drum Company. In 1936, he convinced the owner to create a tunable tom-tom. The previous toms had drum heads hard-fastened to the drum, unable to adjust it. He also worked with the Zildjian cymbal company to create the modern high-hat.
Saturday Panels
It Comes With The Territory: The Business Of Touring
10:00am – 4:00pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 Featuring provocative and illuminating panels discussions, films and performance relating to the realities of a jazz life on the road. More details to come soon.
Jazz for Curious Readers
Carol Friedman
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online
Jazz for Curious Listeners
Benny Goodman, Pt. 1
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online
Harlem in the Himalayas
Helen Sung / Ron Carter Duo
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212.620.5000 ext. 344
Jazz for Curious Listeners
Benny Goodman, Pt. 2
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online
Harlem Speaks
Benny Golson, Saxophonist
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300
Jazz for Curious Listeners
Herschel Evans
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online
Harlem in the Himalayas
Chico Hamilton
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212.620.5000 ext. 344
Special Event
African-American Heritage Day
1:00 – 5:00pm
Location: American Museum of Natural History
(Central Park West @ 79th Street | get directions)
Free with Museum admission The National Jazz Museum All Stars will be performing as part of
HARLEM SERENADE: A MOMENT IN TIME
This event is coproduced by Community Works and the New Heritage Theatre Group.
More information.
Jazz for Curious Listeners
Cozy Cole
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300 or register online
Harlem Speaks
Wendy Oxenhorn, Jazz Foundation Of America
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300
Saturday Panels
In A Mist: Crises of Legitimacy
10:00am – 4:00pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | Reservations: 212-348-8300
Special Event
50 Years of Kind of Blue: A Live Jazz Laboratory
8:00pm
Location: Kresge Auditorium
(Stanford University, 537 Lomita Mall, Stanford, CA 9430 | get directions)
$34 (Adult), $17 (Stanford Student) | 650-725-ARTS (2787) or order online Widely considered the greatest jazz album of all time, Miles Davis’ 1959 Kind of Blue is a cornerstone of “modal jazz”—an approach in which songs are based on modal scales in lieu of chord progressions. The record is also a marvel of performance “in the moment”: trumpeter Davis unveiled the musical outlines and improvising instructions for each of Kind of Blue’s all-new songs in the recording studio to his now-iconic roster of musicians: John Coltrane and Julian “Cannonball” Adderley on saxophone, Bill Evans and Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. In this unique concert in collaboration with the National Jazz Museum in Harlem, Lively Arts recreates the original recording conditions of Kind of Blue, with the great Jimmy Cobb and modern-day jazz virtuosos performing all-new modal jazz compositions they are experiencing for the first time, live on stage.
Generously supported by Abraham and Marian Sofaer. Presented in partnership with Stanford Jazz Workshop.
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