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“‘Swing’ is an adjective or a verb , not a noun. All jazz musicians should swing. There is no such thing as a ’swing band’ in music.” - Artie Shaw
 Monday, 22 September 2014
Attention Young Jazz Artists: Applications Open for Betty Carter's Jazz Ahead Residency E-mail
Written by Ronaldo Oregano   


Under the direction of Jason Moran, the John F. Kennedy Center for the Performing Arts, Washington, D.C., presents Betty Carter’s Jazz Ahead, an international jazz residency, performance and composition project discovering and presenting the next generation of jazz greats.  The two-week program—for which there is no tuition or application fee—identifies outstanding, emerging jazz artist-composers in their mid-teens to age 25, and brings them together under the tutelage of experienced artist-instructors who coach and counsel them, helping to polish their performance, composing and arranging skills. Daily workshops and rehearsals culminate in three concerts on the Kennedy Center Millennium Stage, broadcast live over the Internet.


The Kennedy Center will provide participants with per diem to cover meal expenses and lodging at a local hotel. Transportation to and from Washington, D.C. will be the responsibility of the residency participant. International applicants are encouraged to apply; international transportation for those participants will be made on a case-by-case basis.

Betty Carter, who possessed one of this era’s most extraordinary voices, was devoted to jazz education. Her Jazz Ahead program, which she brought to the Kennedy Center in 1998, has helped launch the careers of several of today’s stars, including Cyrus Chestnut, Jason Moran, and Jacky Terrasson.

Application deadline: October 31, 2014

For application information, go to

Betty Carter’s Jazz Ahead is made possible through the generous support of The King-White Family Foundation and Dr. J. Douglas White, The Argus Fund, and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Like the Good Ol' Days - Kenny Horst and Friends at the Icehouse, Black Dog E-mail
Written by Andrea Canter, Contributing Editor   

Kenny Horst©Andrea Canter

For many years during the Artists Quarter's run in Saint Paul, one of the most popular ensembles was How Birds Work--Peter Schimke, Dean Granros, Billy Peterson and AQ owner Kenny Horst. Over time, Chris Bates took over for the often-touring Peterson. When the AQ closed at the end of 2013, many wondered if it was also the end of HBW. This week, two gigs should allay any such fears, as Kenny Horst gathers pals from How Birds Work--joined by saxophonist Pete Whitman-- for a night at the Icehouse on Monday, September 22 (9:30 pm), part of the weekly JT's Jazz Implosion series. And you can hear the original HBW (with Billy Peterson on bass) at the Black Dog on Saturday, September 27 (8:30 pm), as the first installment of the new mostly weekly Saturday Jazz at the Black Dog series, curated by Steve Kenny.

Sean Jones Quartet at the Jazz Showcase 9/25-28 E-mail
Written by Ronaldo Oregano   

Sean Jones © Andrea Canter

Trumpet virtuoso Sean Jones will appear at the Jazz Showcase in Chicago with his quartet on Thursday, September 25th through Sunday, September 28th.   He has performed with his own groups both nationally and internationally, he held the lead trumpeter chair for the Jazz at Lincoln Center Orchestra (headed by Wynton Marsalis) and participated in recordings and/or performances with Charles Fambrough, the Fort Apache Band, Joe Lovano, Chico O’Farrill, Illinois Jacquet, Jimmy Heath, Frank Foster, Nancy Wilson, Dianne Reeves, Gerald Wilson and Marcus Miller. And he has just released his seventh recording: = never before seen on Mack Avenue Records.

NEA Jazz Master Toshiko Akiyoshi Returns to Los Angeles, Cathlene Pineda Opens 9/26 E-mail
Written by Ronaldo Oregano   

Toshiko Akiyoshi
Toshiko Akiyoshi

Toshiko Akiyoshi’s unique contributions to the jazz world started with a piano-loving little Japanese girl in China and brought her to prominence as an unparalleled pianist, composer and leader of the Toshiko Akiyoshi Jazz Orchestra, which began in Los Angeles. Toshiko’s recordings have received a total of 14 Grammy Award nominations, and she was the first woman to win the Best Arranger and Composer awards in Down Beat magazine's Readers Poll. The Toshiko Akiyoshi appears in trio format with bassist Paul Gill and drummer Aarron Kimmel on Friday, September 26th at REDCAT in Los Angeles. Opening this evening's double bill is emerging pianist/composer Cathlene Pineda with her quartet. Her unique approach to harmony makes her a fresh and innovative contribution to the Los Angeles jazz scene.

The World of Steven Hobert: Improvising Through "Ocean Eyes" E-mail
Written by Andrea Canter, Contributing Editor   
Ocean Eyes

"My vision is to create an authentic expression of my passion & play through music and let it sing out into the world." --Steven Hobert

Steven Hobert is one of those musicians that tends to stun you when you hear him because he typically flies under the radar. We hear him on piano with the Adam Meckler Orchestra, on accordion with Lulu's Playground, but rarely as leader or interpreter of his own creations. He played a solo set during the 2014 Twin Cities Jazz Festival, which provided a preview of some of the bold original works and spontaneous improvisations that form the bulk of the material on his new recording, Ocean Eyes. It's a release that should open eyes, and ears, to one of the more creative minds in the region. And the release will be celebrated this weekend, in Eau Claire (September 19) and St Paul (September 20).

The 2014 Montreal Jazz Liturgy and Dialogic Sessions E-mail
Written by Sheila Horne Mason; Photographs by Kevin R. Mason   

Rev. Peter Woods

Each year, the Festival International de Jazz de Montréal presents an abundance of musical offerings, and inspires several of jazz-related events in the city. (See general review of the 2014 festival.)

The Fourth Annual Jamming at St. James—A Jazz Liturgy

Jamming at St. James, the jazz liturgy held on Sunday, June 29 at Montréal’s historic St. James United Church, was started by respected Canadian educator Professor Norman Cornett. Professor Cornett’s numerous activities kept him from hosting this year, although he was in attendance.  The service started with “Don’t Get Around Much Anymore,” which initially seemed like a surprising choice for a liturgy. This year’s host, Reverend Peter Woods (who did double duty on the saxophone), explained that he had once played it at a funeral, because the deceased had wanted that song. The congregation got a good laugh, realizing just how appropriate the song was for the occasion! During the liturgy, Cantor Stephanie Hradsky added her beautiful voice to the proceedings.

Monterey must-sees: our Top Six picks for the 57th annual Monterey Jazz Festival and why E-mail
Written by Pamela Espeland   
Cecile McLorin Salvant by John Abbott
Deciding to attend the Monterey Jazz Festival is easy, especially once you’ve been there. It only takes one time to fall in love with the music, the ambience, and the setting, a WPA-era fairgrounds with winding paths and mature trees and a mixture of buildings that three weeks ago hosted the Monterey County Fair, complete with pig races. This will be our 10th consecutive year at the longest continuously running jazz festival in the world, co-founded in 1958 by Jimmy Lyons and Ralph J. Gleason with a big helping hand from Dave Brubeck, who paved the way by performing for the Monterey City Council in 1957 with his quartet. He charmed them, then graced the festival 15 times in 55 years.

"Live and Natural" Over Twenty-Five Years With Bruce Henry E-mail
Written by Andrea Canter, Contributing Editor   

Bruce Henry©Andrea Canter

"His voice is his horn, and he can swing like Goodman, spin and spiral like Parker, or levitate like Coltrane."  -- JazzINK

Perhaps the most easily identified male voice in Twin Cities Jazz, Bruce Henry relocated to his adopted home town of Chicago in 2008. But he left not only a raft of friends and fans, but some unfinished business, including an album's worth of live tracks recorded at the Dakota Jazz Club in 2005 as well as a couple tracks going back to Ruby's Cabaret in 1990 and a couple studio tracks recorded at McNally Smith College of Music shortly before his move to Chicago. Finally, this music is assembled into Bruce's third and arguably best album yet, Live and Natural.

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