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Barry Harris, pianist, composer and educator – and bebop master - is featured in the August 2011 issue of Jazz Inside Magazine. This 64-page edition also features Jazz Inside’s Jazz Education Sourcebook and Program Guide including interviews with Robert Hurst (University of Michigan), Marco Pignataro (Berklee World Jazz Institute) and Scott Reeves (CCNY), in addition to artist interviews with trombonist, composer and contemporary painter Dick Griffin; composer and arranger Gordon Goodwin (Big Phat Band), Howard Alden, Yelena Eckemoff. There are also performance reviews, CD reviews, articles to delight your jazz palette, and 16 pages of New York jazz activities.
2011 issue of Jazz Inside Magazine (64
pages), available free in print and as a down-loadable digital edition, and
designed for jazz lovers worldwide - features pianist, composer, educator and
bebop master Barry Harris.
This issue also includes interviews with trombonist, composer and contemporary
painter Dick Griffin, composer and arranger Gordon Goodwin, percussionist Steve Kroon by Ken Weiss, guitarist
and owner of the jazz club, Sasa's Lounge. This issue also includes the Annual Jazz Education Sourcebook and Program Guide featuring
conversations with an array of educators: Robert Hurst (University of Michigan), Marco Pignataro (Berklee World
Jazz Institute) and Scott Reeves (CCNY), in addition to artist interviews with
composer, arranger Gordon Goodwin (Big Phat Band). There are also ample CD
reviews to delight your jazz palette.
In the interview with Barry Harris, this living legend of the piano, who has performed and recorded with a who’s who of jazz – including Dexter Gordon, Freddie Hubbard, Lee Morgan, Elvin Jones, Ron Carter, Thad Jones and many others - discusses the kind of inspiration he experienced hearing Charlie Parker live:
“I can remember going to the Forest Club and hearing Charlie Parker with Strings. I can remember that feeling. [pause] That’s why it’s hard to go into clubs—because I want you to give me that feeling … that feeling I felt when I heard him play. I would love to be able to give that feeling to people myself - to make them feel what I felt when Charlie Parker played.”
Harris, who continues to provide the kind of jazz education and ideas that can only be acquired from real world performance experience says:
“We learn from looking over someone’s shoulder. I learned from looking over Tommy Flanagan’s shoulder, and Will Davis’ shoulder — trying to see how they play, looking at the chords they’re using.”
Scott Reeves, Director of the Jazz Studies Program at City College of New York offers a very practical understanding of the current reality in the jazz world for hopeful students. “Most people [the general public, listeners] are clueless about jazz ... A few musicians will be able to make a living playing jazz … But if your love of music is strong enough, if you work hard enough and if you find your own unique musical vision, you will find a way to make it in this world.”
Marco Pignataro of the Berklee World Jazz Institute observes: “We try to stay away from the old concept of the great artist who is completely self-absorbed, self involved, playing on stage, wanting all the attention and it’s all about them. We are trying to create future leaders of the music who also have a very conscious awareness of society.”
Marco goes on to point out: “We get some really incredible players auditioning. We’re interested in how they interact and can be part of the community as well. So, we are also interested in a well-rounded perspective and attitude is important. There are some players who are very talented and they have the attitude and think, “Oh yeah, you’re gonna pick me because I’m a motherf*****.” Well, right there, we’re thinking, ‘Okay, bye.’ Of course, at this stage in their development they can still modify their attitude because they’re so young. When they are surrounded by artists they respect, and who they see have a completely different vibe —they’ll get it soon. The problem is that many times in the jazz world, that kind of [negative] attitude and values are those that the older musicians teach to the young guys: ‘You need to be an asshole.’ That is what for me is very sad."
Gordon Goodwin, who leads, composes and arranges for the Big Phat [Big] Band, and has composed music for such films as The Incredibles, just released his latest big band project on Telarc Records. He has his feet planted firmly on the ground with a healthy humility about him:
“I’ve had to remind myself that sometimes people still need to hear it - because deep down, some of us still have some self-doubt and it’s important for people to understand that we appreciate them.”
Dick Griffin is a trombonist and composer who has performed and recorded with numerous artists over the past 40 years including Mingus, Basie, and many others. Griffin is also a contemporary painter whose colorful works [several of which are reproduced in this issue] are in high demand.
He shares the wisdom of his years and experience and sensitivity: “Your dream is waiting for you to become true. Instead of you waiting for your dream to become true, your dream is waiting for you to become true.”
Performance Reviews by Nora McCarthy and Shannon Effinger include coverage of Kat Gang, Warren Wolf, Lapis Luna and Tammy McCann. Ken Weiss offers up a review of the recent Vision Festival, including an array of striking photos.
Reviews section includes coverage of recordings by
Eric Alexander, Augmented Reality, Corina Bartra, Larry Gray, Lee Konitz, Steve Kroon, Junior Mance, Heiner Stadler, Rick Stone.
Comprehensive monthly calendar and event listings for the number one jazz market in the world - New York - span 16 pages.
Download here: http://jazzinsidemagazine.com/publications/guide/august-2011
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