We read the morning paper for you!

Dear colleagues and jazz friends,

The Jazzinstitut’s JazzNews keeps you up-to-date with news of the jazz world, which we collect, summarize, and issue via e-mail about once a week. This service can also be accessed on our website ( www.jazzinstitut.de), where it is updated on a daily basis. You’re invited to post comments on the entries there.

If you need bibliographies of the musicians named in our JazzNews, please click on our website’s Jazz Index page. This is a bibliographical reference of jazz-related books, magazines, journals and other sources that you can access without charge. If you don’t find the name(s) you’re looking for, feel free to e-mail us! We will send you Jazz Index digests of articles about musicians as they make the news.

Now, have fun reading about the jazz week that was!

We’re sending this newsletter to: brian@hough.co.za

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1 October 2015

John Coltrane / Nonesuch Records

Steve Griggs reports about a concert by the John Coltrane ensemble in September 1965 in Seattle which later was issued on record ( Seattle Weekly). — Ben Sisario talks to Robert Hurwitz who steps down as the president of Nonesuch Records after 32 years ( New York Times).

2 October 2015

Evan Parker / Jack DeJohnette

Calvin Wilson talks to the British saxophonist Evan Parker about his initiation to jazz through a Charlie Parker record, about performing with the trumpeter Peter Evans, about the choice of his instrument when he was young and about his ongoing fascination with the possibilities of the jazz idiom ( St. Louis Post-Dispatch ). — Josh Brokaw talks to the drummer Jack DeJohnette about the band “Made in Chicago”, about creativity and where it might come from, about the changes in the patience one needs to reflect about music, as well as about musicians who make most of their income from live performance nowadays, not from recordings ( Ithaca).

5 October 2015

Art + Jazz

Bernd Haasis talks to the art curator Sven Beckstette about the exhibition “I Got Rhythm” in Stuttgart, Germany, which focuses on the influence of jazz on the visual arts in the 20th century ( Stuttgarter Nachrichten ). Walter Kittler ( Deutsche Welle [1], Deutsche Welle [2]), Christian Gampert ( Deutschlandfunk), Lena Grundhuber ( Südwest Presse) and Amber Sayah ( Stuttgarter Zeitung) see the exhibition as well. — Howard Reich introduces the visual artist Lewis Achenbach who attends concerts in Chicago and draws what he sees, especially capturing the AACM-connected avant-garde scene of the city ( Chicago Tribune). Achenbach also started a series in which he invites the audience to watch him paint to live music, a format referring both to one of his inspirations, the New York painter Jeff Schlanger, and to multimedia music-and-art happenings staged by Chicago drummer-bandleader Kahil El’Zabar. Achenbach’s art which is seen in a selection in the online article has been used by several musicians for their album covers.

8 October 2015                                    

New York club scene / Improvisation

Martin Longley discovers some new jazz venues in New York, like the midtown Club Bonafide opened by Cameroonian bassist Richard Bona on East 52nd Street, Subrosa with a Latin / jazz-crossover program in the Meatpacking District, Cassandra’s Jazz Club and Gallery in Harlem, and the Birdland Theater which will open next year underneath the club Birdland on West 44th Street ( The Guardian). — Harald Ruppert reports about a public debate in Friedrichshafen, Germany, which focused on the value of improvisation in music, with one of the participants claiming that improvisation might never arrive at the perfection of composed music, another explaining that the difference in creativity between the act of composition and improvisation is not so big, and the third looking at the organizational aspects of improvisation ( Südkurier).

9 October 2015

Michael Wollny / Jason Moran

Josef Engels talks to the German pianist Michael Wollny about his new album “Nachtfahrten”, inspired by an exhibition about the dark side of romanticism and by an anthology of horror stories edited by Peter Handke, about recording the album in a darkened studio, about absolute control as an illusion, and about major being the purest musical mode which makes any dissonance shine even stronger, thus making the listener eager to hear it again and again ( Die Welt). — Rainey Cruz talks to the pianist Jason Moran about the cross pollination of skateboarding and alternative music since the late 1980s, about Moran’s “Finding a Line”, a project by professional skateboarders and jazz musicians, about the setup for the event at Kennedy Center which involved microphones under the ramps, about his own background in music and how discovering the music of Thelonious Monk made him stop skating, about the rebellious nature in jazz and skateboarding, about some of his skateboarding collaborators in the show whom he describes in their mastery of rhythm and creativity, as well as about his fascination with the art of Jean Michel Basquiat which made a big impact on his series of “Gangsterism” compositions ( The Hundreds).

10 October 2015

Jena, Germany / Frank Sinatra

Frank Döbert reports about the 35th anniversary of Jazz im Paradies, a concert series started in 1980 in Jena, East Germany, about the political implications of jazz in the former communist zone and about how the secret police tried to control the jazz scene ( OTZ). Doris Weilandt reports as well ( OTZ). — Benjamin Ivry talks to the author David Lehman about his research into Frank Sinatra‘s life and legacy, focusing on the singer’s support of the Jewish community and Israel, and about how Sinatra’s “excesses of his personality” didn’t show up in his music ( Forward).

11 October 2015

Rudy Smith / Jacob Szekely

Ray Funk and Andrew Martin report about Rudy Smith, the Trinidad-born steel pan player who had moved to Europe in 1962 and is currently living in Scandinavia. They explain Smith’s importance and influence on Caribbean music, and think it was a good decision that Smith was inducted into the Sunshine Awards Hall of Fame in New York on October 3 ( The Trinidad Guardian). — Kirk Silsbee talks to the cellist Jacob Szekely about playing his instrument in non-traditional settings, about translating the improvisational language of Jimi Hendrix and John Coltrane to the cello, and about the influence of classical composers as well as of the violinists Jean Luc Ponty and Zbigniew Seifert ( LA Weekly).

12 October 2015

Arne Huber / Iiro Rantala

Robert Ullmann talks to the German bassist Arne Huber about the Worms Jazz Award he received these days, about the importance of CDs today, about the different roles as composer, arranger, bandleader, sideman, about his initiation to the double bass, as well as about the necessary balance of a good professional education and the experience on the scene ( Badische Zeitung). — Bernd Hassis talks to the Finnish pianist Iiro Rantala about the creative Scandinavian music scene, about his fascination with John Lennon’s music and his project interpreting his songs, about each of his albums evolving from the last, about Finnish humor, about the trio Töykeät he played with for 18 years, about the loneliness of a solo pianist, and about his love for ragtime and stride piano ( Stuttgarter Nachrichten ).

13 October 2015

Miles Davis / Philipp Gropper

Devan Coggan reports about the new movie “Miles Ahead” which premiered these days, and shows a first clip of Don Cheadle as Miles Davis ( Entertainment Weekly). Here is another clip ( Entertainment Weekly). Patrick Ryan ( USA Today), David Rooney ( Hollywood Reporter) and Matt Patches ( Esquire) see and review the movie. — Felix Hampel talks to the German saxophonist Philipp Gropper about the specific sound of the Berlin jazz scene, about the influences on his playing from Coltrane, Shorter, Rollins, Parker to younger contemporaries on the European scene, about the difference between the two bands he is working with, Hyperactive Kids and Philm, about non-musical influences on his music, about the creation process for a new piece, about the fact that too many excellent musicians get much too little public exposure, about his own style which is still in the process of development, as he sees it, as well as about being considered part of a free music scene even though the form of the projects he works in is often quite fixed and he emphasizes his strong links to the jazz tradition ( JazzAffine).

14 October 2015

… what else …

Lukas Hübinger hears the saxophonist Hayden Chisholm who serves as “improviser in residence” in Moers, Germany, this year ( Der Westen). — Nate Chinen hears the Norwegian singer Karin Krog at Joe’s Pub in New York ( New York Times). — After the death of Wilton Felder, Herb Boyd remembers The Crusaders ( New York Amsterdam News). — Johannes Waechter talks to the German singer Roger Cicero ( Süddeutsche Zeitung Magazin). — Jakob Buhre talks to Ludovic Navarre a.k.a. St. Germain ( Planet Interview). — Nate Chinen hears the Jack DeJohnette Trio in Brooklyn ( New York Times). — Chad Berndtson talks to the guitarist John Scofield ( JamBase).


We learned of the passing of the alto saxophonist Phil Woods at the age of 83 ( Pocono Record, New England Public Radio , New York Times, Mass Live, NPR, Washington Post), the saxophonist Willie Akins at the age of 76 ( St. Louis Post-Dispatch), the vibraphonist Dave Pike at the age of 77 ( Los Angeles Times), the clarinetist Joseph Torregano at the age of 63 ( New Orleans Times-Picayune), the British bassist Coleridge Goode at the age of 100 ( Jazzwise), the German saxophonist Norbert Vollath at the age of 59 ( Mittelbayerische Zeitung), the Scottish singer Mary McGowan at the age of 85 ( Evening Times), the producer Larry Rosen at the age of 75 ( Miami Herald, Washington Post), the British trumpeter Owen Bryce at the age of 95 ( Northampton Chronicle), as well as the singer Frankie Ford at the age of 76 ( New York Times).

Last Week at the Jazzinstitut

The 14th Darmstadt Jazzforum on “Gender and Identity in Jazz” took place from 1-3 October 2015, and it was a most lively affair. 18 presentations from scholars, journalists and musicians who came from Germany, Austria, Switzerland, Great Britain, Canada as well as the United States provided 18 different perspectives of this big and fascinating subject. As many of those who attended, confirmed to us after the conference, not only was it necessary to have a whole conference on the subject, but also was it a good decision not to limit ourselves to “women in jazz” or “gender in jazz”, but to open it all up to other aspects of the topic as well.

Some glimpses into the conference ( Jazzforum Website) can be found at the Jazzforum’s Facebook page ( Jazzforum Facebook) where you also can see some photographs which Wilfried Heckmann took during the conference. We will present a short video documentation of the conference in about a month or two. And all of the papers will be published in our book series “Darmstadt Studies in Jazz Research”, due in mid-2016.

Arndt Weidler was one of nine jury members for APPLAUS, a major award for jazz and popular music live clubs initiated by the German government, and he was at the award ceremony in Munich on Monday. Oliver Hochkeppel reports about the award ( Süddeutsche Zeitung); the Initiative Musik has details ( Initiative Musik ) and statements of the winning clubs ( Initiative Musik ).

We relaunched our website ( www.jazzinstitut.de) pretty much exactly one year ago. One of the advantages of the new website is that finally we have a count of how many people are visiting us virtually. Thus In the last 365 days we had approximately 160,000 visitors and more than 58 million page views.

This Wednesday, 14 October 2015, we co-organize another Darmstadt MusicTalk which as part of a general exhibition about censorship in the arts at Atelierhaus Darmstadt will focus on “music and censorship” ( Darmstädter Musikgespräche ). The panel talk will be between Thomas Schäfer, head of the Darmstadt Summer School for Contemporary Music, Cord Meijering, composer and head of the Darmstadt Music Academy, Wolfram Knauer, head of the Jazzinstitut, as well as our guest Christiane von Wahlert, head of the association for voluntary self-regulation of the German movie industry.

Should you be in New York and have nothing else to do, join Wolfram Knauer on Thursday, 22 October 2015 at 7pm for a public talk about Charlie Parker at Columbia University. Parker’s music is a milestone in 20 th century cultural history. His artistic importance is by far not limited to jazz, yet clearly emphasizes an African-American musical aesthetic. In his talk, Knauer will focus on three major discourses Parker participated in. He will talk about Parker’s awareness for African-American cultural heritage, look at Parker’s use of jazz as an experimental practice, and discuss the saxophonist’s global influence beyond the obvious, his art being a benchmark not just for jazz but for other aesthetic discourses as well. The talk, entitled “Bird’s View: Blues, Bebop & Beyond” will be followed by a performance of the Jackie Williams Quartet featuring Charles Davis with Charles Davis (sax), Tardo Hammer (piano), Paul West (bass) and Jackie Williams (drums). ( Columbia University). Both talk and concert are free and open to the public.

And thus, as the editor of our JazzNews will be out of the country for a bit, you will have to wait until late November for your next edition.

About this mailing:

Older Jazz News issues can be accessed through our Website (www.jazzinstitut.de).

The Jazz News is being mailed in a German language edition as well. If you feel more comfortable with the German version, let us know by sending a mail.The newspaper articles summarized on this page have been archived in our digital archive. If you need the complete article of one of the notes on this page, write us an e-mail. You may also be interested in our Jazz-Index, the world’s largest computer-based bibliography on jazz, which lists books, jazz periodicals, but also essays from daily and weekly newspapers. You can order excerpts from our Jazz-Index on specific musicians for free by sending us a mail with the respective name(s). A short aside about the links on this page: Some of the linked articles cannot be read without prior registration; with many online newspapers older articles can only be accessed for a fee. Please bear in mind that the summaries and translation on this page are our summaries and translations. If you want to quote any of the articles listed here, you should use the original sources.We send this newsletter to the following e-mail address: brian@hough.co.za

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Jazzinstitut Darmstadt is a municipal cultural institute of the city of Darmstadt, Germany.