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Hope you get this on time, I made a trip to Aberdeen, Scotland and had my bag stolen from me with my passport and credit cards in it. The embassy is willing to help by letting me fly without my passport, I just have to pay for a ticket and settle Hotel bills. Unfortunately for me, I can't have access to funds without my credit card, I've made contact with my bank but they need more time to come up with a new one. I was thinking of asking you to lend me some quick funds that I can give back as soon as I get in. I really need to be on the next available flight.
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From WASHINGTON DC JAZ… to J Elizabeth Hardg…
Sent on Friday 9/21/12
Elizabeth
Your account is in violation by posting fake magazines covers and is in jeopardy of
being suspended. We take misrepresentation very seriously. Everything is vetted.
Thanks for your cooperation!
WDCJN
Vague Magazine
From J Elizabeth Hardg… to WASHINGTON DC JAZ…
Sent yesterday 9/22/12
Ok
(Elizabeth left the network 9/23/12)
Comment
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Comment by Madafo Lloyd Wilson on May 30, 2011 at 11:57am -
"original American art-form" ???? Every time I hear/read this phrase and others akin to it, my spirit gets an itch, that I can not scratch.
One of the very simple ways to keep this "Music" alive and vibrant is to teach it, to the coming generations. As Elders, it is our responsibility to pass on everything we know and understand about life, in all it's nuances; colors, taste, fragrances and textures, especially, if we want it to survive and make a difference. If our children are having problems, then check out the amount of time you are contributing to their understanding. "Each one Teach one" is a powerful concept! It adds to the, already sordid situation, to just throw up your hands, stick out your lips and say, "Oh, dey won't come to hyear ma concerts, so I's gon quit writin and pafoamin and just die a po, sorry soul, who cudn't mak it caws nobody liked me."
Everybody can't be a Miles or Duke...on the main stage. The sky is filled with stars...some are brighter than others but they still shine. Somebody had to go down in the trenches, in the Boys and Girls Clubs and get things started in the community centers and churches, where Black people are; Teaching in the schools, providing guidance, being accessible, offering inspiration and motivation, Role Modelling. There are many ways this music and the knowledge of it can be self gratifying, nurturing to our community and a positive influence to the coming generations.
Hip Hop came about as a result of the youth making their own decisions about what was Creative. We were not teaching them. Who, in the farthest reaches of the universal mind, would have ever thought that taking an Lp and scratching that sucker, until it was grooveless, in rhythm, would create a global audience? Just the shear simplicity of it is Genius.
You want your music heard, then PLAY IT! for the masses of youngsters who are hungry to hear your genius...for those babies laying in their cribs, in the nurseries, in the womb...for the cats on the street, jive talking, speechifying and preaching. Play it Man! So, we can hear what you have to say. Usually, there is, at least, one in the crowd who will listen and say hmmm...
Now, will someone, anyone, everyone explain to me this phrase, "Original American Art-form"? Peace and Blessing, my Sisters and Brothers...I love you dearly.
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Comment by Kenny Drew Jr. on March 6, 2011 at 4:39pm -
Comment by Kenny Drew Jr. As a jazz (and sometime classical) pianist myself who has seen his career and income decline seriously over the past few years(I no longer make enough money to have my own place and have had to move in with a relative),I think audiences have a lot to do with the problem. The average jazz audience has become a bunch of old white farts who only want to hear the"classics",i.e. music they recognize. They don't care about hearing anybody's original music, or anything that doesn't sound "mainstream",i.e. odd meters, music with rock,funk or classical influences,or anything that's not Duke, Porter or Gershwin. It's really frustrating for me as a composer to not be able to play my own music very often. Sometimes I think I might as well stop writing. Why continue to write new music that I will hardly ever have a chance to perform in public or record? I don't see much of a chance of this situation improving. Also, in the area where I live, audiences will hear a really bad performance that's not swinging, cats missing the bridge, screwing up the ending, singers in the wrong key ,and think it sounds great! I'm about ready to quit, but I can't because I have no other skills than playing and writing music. Sometimes I think that if society in general and the music industry in particular put so little value both culturally and monetarily on what I was obviously put on this planet to do, then perhaps I should just stop doing it, and if I should starve and die as a result of that, then so be it!
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Comment by Jack L on March 6, 2011 at 2:05pm -
The Lewiston, NY Jazz Festival is a wonderful and well-attended event every summer. Just a few miles from Niagara Falls, the town shuts down the main street for two days of jazz played from five venues. People from Toronto and Buffalo and points east and west appreciate jazz and the dedication of the artists who perform. It's not unusual to hear Red Menza perform in a sextet or Bobby Jones in his trio. The artists always make a point that they recognize the patrons as knowledgeable and appreciative of the jazz. If you are in the area next August, stop in for a few sets and enjoy yourself.
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Comment by WASHINGTON DC JAZZ NETWORK on November 17, 2010 at 10:42pm -
Hello John Marcus, thanks for breaking that down. Right on point!
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Comment by John Marcus on November 17, 2010 at 1:32am
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Interesting comments below, Diva JC. I won't disagree with any of that, but I will add: the purpose of any business is to make money. While it is true that we, those who appreciate the nature of the original American art-form, just want to see jazz continue to thrive, it is also true that as an art form, it must be permitted to grow, change, and evolve. I'm not saying that this evolution always leads to an improvement from the original design, but it must change along with everyting else that existed during the first 7 decades of the 20th century. Rock and Roll doesn't sound the same as it did 50 years ago. Country music doesn't sound the same as during Johnny Cash's day, and even Rap music is not the same as it was in the 1970's. I mention that only to say that things do change, and not always for the better. As jazz enthusiasts, we should be willing to embrace jazz in order to ensure its survival in whatever form it should manifest itself. Sadly enough, we do not. Jazz stations that play traditional jazz do not turn a profit, even in larger metropolitan areas; at least not when compared to so-called popular music. In my area, which is Central Georgia, 1 hour south of Atlanta, we hosted a concert featuring Ronnie Laws. We gave away 25 pair of tickets, and the show was advertised primarily on our jazz station for the entire month leading up to the show. Total turnout: 75 people.Same thing happened with the Count Basie Big Band, Pieces of a Dream, and even Spyro-Gyra. That's big band, smooth jazz, and fusion. Three different types of jazz that I personally embrace, as well as mainstream or traditional jazz. I'll take my jazz any way I can get it, because I realize I would be lucky to get it at all. I'd rather have a smooth jazz station than no jazz station at all. In many cities, where mainstream purists complained and opted to not support smooth jazz (I agree, an attempt to make jazz more palatable to the masses watered jazz down to a point where it was hardly recognizeable), we ended up with another country station. For jazz to be the music of intellectuals, we sure seem to be (and I stress SEEM TO BE) the least intelligent, because we don't have stations, and we don't even have representation on the grammys. The Jazz fanbase is clearly the most disfunctional, because as divided as we are, we doom ourselves to failure upon failure due to our lack of solidarity. We're like Trekkies and Trekkers (people who watch Star Trek). Some will only watch Captain Kirk and Mr. Spock (played by Shatner and Nimoy). Some will watch any Star Trek because the principles of a unified humanity is consistent in all the series, whether it be Next Generation, Deep Space Nine, Voyager, or Enterprise. Regardless of which brand of Star Trek they prefer, when the time comes to turn out in large numbers, they will show up at the conventions wearing the pants with the stripe down the side, fake Vulcan ears, and various gadgets and doo-dads, because after all, Star Trek is what it is all about. If we, fans of Jazz, can show up for Boney James and Joshua Redmond alike, stand behind Marsalis and Chris Botti, we might then, finally demonstrate the universality (madeup word) of the original American art-form. We might also then, put a few dollars into the pockets of the world's greatest musicians so they don't have to live and die broke, maybe see a few jazz station pop up again on the FM band, and finally get Don Cheadle to play Miles Davis in a Spike Lee joint. That's where the similarites between us and Trekkies comes to an end. Trekkies turn out. We don't. Even in new York and Los Angeles. I saw Grover Washington, Jr. perform in Sacramento California, way back in the 1980's. Kenny G, relatively unknown, was on the same ticket along with Pieces of a Dream, the Yellowjackets, and Rodney Franklin. I'm sure the Jazz purists were somewhere pouting in protest. The theater was about 33 percent empty. Grover commented on it between songs. I was embarrassed and ashamed for the entire jazz community. We looked like spoiled morons. What a pitiful combination of traits.The tickets for this show were 30 bucks.
What I like about mainstream/traditional jazz is the raw musicianship. You would have to be able to play at a very high level. Chops is tops. I could dig it, but lack of mass appeal could be why many great musicians went on to the great beyond without two nickels to rub together. Again, business is about making money. If you just want to have the art form remembered, that would be the purpose of a library or museum. To keep it relevant, however, and on the minds and lips of the people, it has be (or become) relatable. That's what smooth jazz tried to do. Unfortunately, smooth jazz had plenty of smooth, and not much on the jazz department. It was a great idea, but executed poorly.
Is it possible that we could live with something in between? If you know me, and you should already be getting a feel for where I'm heading), you know I would never ask that question if I didn't already have an answer, Something jazzy, soulful, and slightly urban....could be the answer. Win. Win. Win.
Win. Include and retain our spotaneous and improvisational nature. Racell Ferrell, Will Downing, Al Jarreau, Michael Franks, Joshua Redman, .
Win. Retain and include under our umbrella a core of middle of the road jazz artists, like: Joe Sample, George Benson, Herbie Hancock, Kirk Whalum, Bob Baldwin, .
Win. Keep and include the classics, while showing the lineage, connecting classics to current artists. Lionel Hampton, Bobby Hutcherson, Roy Ayers. Ella Fitzgerald, Al Jarreau, Kem. Wes Montgomery, George Benson, Norman Brown. Miles, Donald Byrd, Patches Stewart.
What we need is a legacy station; one that connects the dots. Then, jazz is not something that is best viewed on faded old black and white footage, but one whose journey may have started there...and whose story is never complete as long as we keep the music alive.
That's what I bring to the table. I have been doing it for over 30 years. The internet has given me (as is true with many other professional broadcasters) the opportunity to own my station. I am not hindered by the demands of a sponsor. I foot the bill myself. I don't ask my listeners for a dime. I only ask that they listen and share the word with their friends. So, we can play the music that corporate American radio is afraid to play,.you have the freedom to listen to our station. If you think it's too contemporary, you can email us and let us know. You can ask for more or less of anything, so please don't rush to judgement. Today, we have a sound that is consistent with the requests of those who currently listen. We can play anything as long as there is an audience for it. If you want Eddie Lockjaw, ask for it. If you want Wayne Henderson, ask us. We'll do it. Les McCann, Bobbi Humphrey, Bobby McFerrin, The Crusaders, Keith Jarrett. Lonnie-Liston Smith.
Instead of complaining about what is wrong with radio, I've aspired to create a station where anything you want is possible. Question is: Will people support it by simply listening?
Hmmm.......
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Comment by Ian Dylan on November 16, 2010 at 9:06pm -
I had a pianist that I had hired. From where I was, and ya have to go by me as it's my gig, their sound was just very harsh and unpleasant and, - as a blind guy, I aint gonna put in ear plugs if I don't have to, and also aint gonna just pretend that I'm totally happpy with something that's not ok on my own gig. Without getting in to it, they and we somewhat easily made it better, but not without them making it clear that they thought that I was wrong. Got some news for ya hunny, - I'm always right on my own gig, - and I'm really not hard to please. I just want something where what hearing I do have can stay intact, and also, that will sound good even to a normal person who may not even be a jazz person. I'll make a suggestion. try changing the position of your speaker as, usually asking someone to turn up or down is the last resort. and yes, I'm afraid that that's experience talking. As for drummers, Please don't hire the house cat when you want a tiger. Nothing is more annoying than knowing that they kind of don't like what you do, and that you'll have to become someone you're never gonna be in order to make them happy. Ok; I'm done. thanks ;)
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Comment by Diva JC on February 22, 2010 at 5:37pm -
The disappearance of jazz musicians of African descent and African American owned jazz venues happened for two reasons, in my opinion: first, Jazz was the popular music of the first 7 decades of the 20th Century. Ever since the inception of "jazzmatazz" with "Canteloupe Island" (bitty bitty bop), hip hop and rap have become the popular music of the day. The second reason has to do with the cultural politics of commercial jazz, addressed in my book A History of African-American Jazz and Blues, in which I assert that the ownership of the means of production, packaging, distribution and promotion is in the hands of the Euro-American and European, and subsequently, the Japanese. Few recording studios, manufacturers, distributors, record store owners, jazz publications or venues are owned by African Americans. Therefore, reaping financial benefits from jazz music production rarely fell in the laps of African American innovative jazz musicians. Additionally, white counterparts who cooled down the music, making it smooth enough for the masses reaped heaps of financial rewards, while innovators, whose riffs and rhythms often motivated the watered-down smooth music died all but penniless.
With regard to club owners, I believe the inception of the Internet has a lot to do with dark rooms, since people can go online and hear all the traditional and new age jazz they care to hear. Also, it's less expensive to pay a DJ to spin records than to pay a duo, trio, quartet, quintet or big band. So, musicians, as a whole, have become obsolete in the minds of club owners who are interested in making money, not keeping jazz alive. The few that do want jazz want a one-man (or woman)-band or a duo with tracks, sounding like a big band!
The last place I had a steady gig was in Hallandale Beach, FL. I worked there two Thursdays with a pianist. At the end of the second Thursday evening, the owner shorted me $100, after letting us play the entire evening. I wrote him a letter, sent it in email, by fax and mail. After three weeks of no response, he left a message on my machine saying I could come get my $100. Less than three months later, this venue was closed. Why? Poor management, no advertising budget, no understanding of the music industry and total lack of understanding of the word "consistency", the hallmark of a great jazz club.
In my book So, You Want To Be A Singer? A Manual for up-and-coming Divas, Musicians and Composers, I outline the things that musicians need to know about the business of music. It's in simple terms that a child can understand. I felt it was necessary to publish a book like this because it took me 20 years to learn all this stuff and, trustfully, one or two or may 10 younger singers and musicians will get something from my experience.
Where is jazz headed? As the founder of Women in Jazz South Florida, Inc., a non-profit organization that promotes women who compose and perform their own music and men who support them, I am optimistic about the ability of present-day jazz musicians to educate young people about the legacy of America's only original art form - Jazz. In 13 years, I've taught thousands of children about Women in Jazz and Blues. My book, Amazing Musicwomen contains biographical information on 40 women musicians and the men they performed with.
All my books are available at http://stores.lulu.com/divajc. My dilemma is, since many people of color 1) believe white people's ice is colder than their own and 2) rarely read, few of them will buy and read my books. The American Embassy in Kingston, Jamaica just purchased 48 of my books (16 of 3 of them equalling 48) to donate to two primary schools that I'll visit this week, before performing at the Blues on the Green concert on February 26. Maybe word will get back to President and First Lady Obama that I have something to offer in the field of jazz history.
One last note, the position of women in jazz is a very unsteady one to say the least. It may take men like Dr. Nelson Harrison to shine a light on the work of women jazz musicians. He was the one who enlightened me about the fact that Mary Lou Williams was the Mother of Bebop because she taught the flatted fifth progression to Bird, Diz, Monk and Mingus. What other trivia do we not know about the contributions of women to jazz music?
Tune into my radio show every Wednesday from 12 noon to 2 p.m.
www.blogtalkradio.com/musicwoman
Listen to the archived shows: www.wijsf.com/radioguests.htm
Hire a female musician!
Want to help? Make a donation or join us - Women in Jazz South Florida, Inc.
We now have 65 members, 25 are musicians and 5 are male.
Love and music,
Diva JC
www.joancartwright.com
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Comment by Dr. Nelson Harrison on February 21, 2010 at 9:41pm -
The demise of the black musicians union clubs in 1965 began the downward spiral. Then urban renewal obliterated the venerated jazz shrines where the music was nurtured no matter what else was happening in the popular commercial market. In Piittsburgh we are trying to revive the last remaining jazz shrine, the Crawford Grill #2, and the New Granada Theater a few blocks away. We have discussion groups for each of these projects on the Pittsburgh Jazz Network which we invite you to also join. http://jazzburgher.ning.com This is not a local issue, it is about saving the music and its legacy for future generations. It's now up to us to speak out. thanks George for always being on the case.
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Comment by Rich Pulin on January 27, 2009 at 4:03am
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"Q" Secretary Of The Arts...........I like it!
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Comment by James Bazen on January 26, 2009 at 10:53am
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Speaking of jazz friendly politicians, I got this email a couple of days ago. Thought you might be interested:
To All Jazz Lovers!
Quincy Jones is petitioning President Barack Obama to appoint a SECRETARY OF THE ARTS.
If you are interested in signing the petition, click on the following link.
http://www.petitiononline.com/esnyc/petition.html
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Here's to life~~~Shirley Horn
Sat & Sun, June 1-2, 2013
Put it this way: Jazz is a good barometer of freedom… In its beginnings, the United States of America spawned certain ideals of freedom and independence through which, eventually, jazz was evolved, and the music is so free that many people say it is the only unhampered, unhindered expression of complete freedom yet produced in this country.~~~Duke Ellington
|
A Tisket A Tasket!
Dubbed "The First Lady of Song," Ella Fitzgerald was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she won 13 Grammy awards and sold over 40 million albums
Benny GolsonA Member of the Washington DCJazz Network
 NOW'S THE TIME
Learn to be a real
JazZ Singer!
       
BLUE MINOR
"GINGERBREAD BOY"
VOICE OF THE SAXOPHONE
|
I think the idea is now for blacks to write about the history of our music. It's time for that, because whites have been doing it all the time.
It's time for us to do it ourselves and tell it like it is~~
Hahahaha...Yeah, Diz you hit the nail on the head. Tell it like it is...
N.E.A. JAZZ MASTER
Honorary Member of the Washington DC Jazz Network
N.E.A. JAZZ MASTER
Make a Contribution today!
The most powerful thing about making a donation is that you're one of the ordinary people who love the Washington DC Jazz Network.
It adds up. And it depends on each of us doing our part.
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CLAIRDEE FRENCH
A Member of the Washington DC Jazz Network
Captivating jazz vocalist: soulful musical storyteller blending jazz, pop & blues to uplift and inspire.
Upcoming shows
12/24 Yoshi's San Francisco
All dates
San Francisco, CA · www.clairdee.com
Tennessee Waltz
December 24, 2012
A Member of the Washington DC Jazz Network
A saxophonist, composer, producer and educator, Bobby Watson grew up in Kansas City, Kansas. He trained formally at the University of Miami, and he proceeded to earn his doctorate on the bandstand -- as musical director of Art Blakey's Jazz Messengers.
(August 10, 1932 – December 19, 2010)
November 5, 2012
JEANNE GIES
A Member of the Washington DC Jazz Network
w/ Master Guitarist
New York Post observes that he is "...one of the very finest young guitarists working today."
October 29, 2012
The W.D.C.J.N. is now internationally reaching Jazz musician, enthusiasts and aficionados, promoters, festivals of Jazz around the world. A real eye opener for people researching the history and present day development an evolution of America’s only original art form and historical legacy.
Sincerely!!!
Maxwell Price
An Advocate for Preserving America's Classical Music, "JAZZ", it's African American Heritage, Roots & Legacy throughout the world!
Executive Director & Founder
Washington DC Jazz Network
The Eddie Jefferson School of Bop
Hello George, I am proud to be a member of the Washington DC Jazz Network (WDJN).
I am able to find out what's going on in town and on the east coast
and to network with other musicians. I get a lot of my news from the emails I receive from WJN.
I also would like to thank you for supporting the Jazz
program at Howard University in Washington, DC. Keep up the great work.~~~FRED IRBY
The Howard University Jazz Ensemble will present it's Fall Concert @ Andrew Rankin Memorial Chapel.
The guest soloist will be saxophonist Javon Jackson. Mr. Jackson is a veteran of the bands of Art Blakey, Freddie Hubbard, Elvin Jones and Les McCann. There will also be a performance by AFRO BLUE, the award winning vocal jazz ensemble.
WATSON-JOHNSON
DANCE THEATRE
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Presents
"NUTCRACKER CAFE' AU LAIT" Sat., Dec. 22, 2012 RSVP Today!
Bring the Entire Family!
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Ms. Carol
Artistic Director Founder Choreographer
B.F.A. Howard University 1980
A Member of the Washington DC Jazz Network
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Washington DC Jazz Network Welcomes
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Support the Network that Supports you!
I fully endorse this institution and encourage anyone that is fond of Jazz to visit the Washington D.C. Jazz Network; today and become a member or make a donation to a worthy cause.
Sincerely!!!
Maxwell Price
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Adamo chose “What is…
Tony Adamo's Record Producer Drummer Mike Clark in Top 50 @#16 on jazz week Charts
Posted by Tony Adamo on April 3, 2013 at 10:30am 0 Comments 0 Likes
Wolff & Clark — Expedition( Michael Wolff & Mike Clark) on Random Act Records.Are holding strong @#16 in Jazz Week's Top 50 national Jazz Charts.Legendary drummer Mike Clark produces Random Act records Vocal/Hipspoken' Word Artist Tony Roc Adamo Frank Black/ A Double Left Hook PR Gig NYC http://www.jazzweek.com/releases/2013/02/wolff-clark-expedition-random-act-records/…
Vocal/Hipspoken'Word Artist Tony Adamo @#22 in Top 25 for Top MP3 downloads/Lasvegasweekly
Posted by Tony Adamo on March 31, 2013 at 6:05pm 0 Comments 0 Likes
Tony Adamo's "What is Hip' @#22 in Top 25 for Top MP3 downloads for the week ending March 29/ "What is Hip" Song Lineup
What Is Hip? (S Kupka, E Castillo, D Garibaldi - Bob-A-Lew Songs ASCAP)
Vocal/Hipspokenword - Tony Adamo Drums - Mike Clark Bass - Richie Goods Piano - Neil Larsen Guitar - Jerry Stucker Percussion - Bill Summers Bari Sax - Stephen Doc Kupka Trumpet - Eddie Henderson Background Vocals - Sandy Griffith Midi Programming - Jerry Stucker Full song of Tony Adamo's What…
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