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Rabu, Juni 03, 2009

Amid West Banks Turmoil, the Pull of Strings





RAMALLAH, West Bank The young man was handy with tools. A carpenters nephew, he liked to fix chairs, windows and door locks. At other times he would stand idly on the street corner.


Ramzi Aburedwan noticed him. Like the Pied Piper, Mr. Aburedwan, a French-trained violist raised in a Palestinian refugee camp, was trying to lead Palestinian children into the world of music: namely, a music center he was establishing in an old quarter of the town.

But he had other ideas for the young man. The center had received dozens of donated string instruments from Europe: instruments prone to cracks, broken bridges and damaged scrolls.

The young man, Shehade Shelaldeh, would become the violin repairman.

And so, two years later, after absorbing lessons from visiting volunteer luthiers and a three-month apprenticeship in Italy, Mr. Shelaldeh, 18, has his own instrument repair shop. It is in a former garage around the corner from the music center, Al Kamandjati (the Violinist). He has learned to fix instruments and replace the hair on bows. He has already made two violins, one with a tiny Palestinian flag on the tailpiece, which anchors the strings.

Its a beautiful feeling, he said one day in late April. I want to work here and teach people. It is the precision of the work that appeals to him, he added, as well as the peace that comes from working by himself, late into the night.

In a place all too familiar with the sounds of gunfire, military vehicles and explosions, he said, Al Kamandjati taught us to hear music.

The center, and Mr. Shelaldehs acquisition of a trade born in the workshops of 17th-century Italy, are part of a recently kindled interest in classical music, both Western and Oriental, in the occupied territories. Parents, students and teachers here say it comes from the realization that culture is an effective assertion of national identity, particularly at a moment when the prospects for a Palestinian state seem to be receding. It is also a way to give idle young people something to focus on.

In Mr. Shelaldehs case, classical music means a career. One of his main teachers, Paolo Sorgentone, reached at his workshop in Florence, Italy, last month, said that while the young man had a lot to learn, he was a natural, both in his hands and in his head.

From the beginning he showed a rapidity and intelligence to understand exactly what needed to be done, Mr. Sorgentone said. He has an intuition for this. In a few years, he added, Mr. Shelaldeh will become an excellent luthier.

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Kidd Jordan to Receive 2009 Asante Legend Award


Edward Kidd Jordan has been announced as a recipient of the 2009 Asante Awards in the area of Music Education; The Year of the Legends.The 2009 Asante Awards and Festival will held at the Mahaila Jackson Theatre of Performing Arts in New Orleans, Louisiana in the famed Louis Armstrong Park/Congo Square on Wednesday, July 1, 2009. Produced by NOLA.TV, this year's event pays tribute to New Orleans Legends in the field of Jazz, Music Education, Theatre, Gospel, Spoken Words, Business, Civic, Culinary, Fashion, and the Arts.

In addition to Kidd Jordan, this years' recipients in the area of music includes; Harold Battiste, Ellis Marsalis, Germaine Bazzle, Deacon Jon, Dr. John, Fats Domino, Herbert Hardesty, Luther Kent, Larry Sieberth, Irma Thomas, Wardell Quezerque, and the Reverend Lois Dejean. The full day celebration includes a festival from 9:30 am – 5:30 pm, followed by the Awards Ceremony, “An Evening of Silk, Satin and Sandals" which runs from 6:30 pm – 10:30 pm. All event activities are free and open to the public.

Indie Jazz aptly describes Sir Edward “Kidd" Jordan as a “genteel man" who is “probably the single most under-documented jazz musician of his generation, a fact that is even more remarkable when you consider that he is also one of the busiest musicians in the world." Jordan was recognized as a jazz maverick back in the 1940s intent on exploring jazz rooted music's outer reaches.

Mr. Jordan earned his degree in music from Southern University and A&M College in 1955. He later earned his master's degree in music from Millikin University in Decatur, Illinois where he studied under Drs. J. Roger Miller, Roger Schueler and Jean Northrup. Mr. Jordan's post-graduate summer studies lead him to Northwestern University in Evanston, Illinois where he studied under Fred Hemke who doubled as a reed maker.

Born in Crowley, Louisiana on May 5, 1935, he started playing by ear from listening to licks he picked up from the recordings of Charlie Parker and Sonny Stitt. That was the beginning of Kidd Jordan's musical odyssey. It was there that he learned to play saxophone from Joseph Oger, a French-Canadian teacher. His growth as a musician later continued at Ross High School in Crowley where he encountered Southern University alums Emmett Jacobs and William Byrd. When Mr. Jordan landed in Baton Rouge from 1952 to 1955 he advanced his music studies under Southern's band director T. Leroy Davis and woodwind teachers John Banks and Huel Perkins. At Southern he also connected with another soon-to-be musical legend, his band mate and Kappa Alpha Psi fraternity brother Alvin Batiste.

After his years at Southern, Mr. Jordan began his journey to share his knowledge of music. Mr. Jordan began his formal teaching career in 1955 at Bethune High School in Norco, Louisiana. At one time he spent time in New Orleans' historic Faubourg Trem as an instructor at the William Houston School of Music. It was in 1972, however, that he arrived at another historic place, Pontchartain Park the home of Southern University at New Orleans; and he taught there until 2006.

Mr. Jordan's legacy is solidified by his insistence that his students' music contain one critical element--originality. And he practices what he preaches. Mr. Jordan once said, “Nowadays everybody just wants to play the same stuff that everybody else is playing. Same solos, same licks, and I can see that, because everybody wants to be accepted, but I don't care about that. The minute someone wants to pat me on the back about something is the minute I'm ready to leave. You've got to know yourself and what you're capable of doing and how you want to do it."

His instruments are tenor, baritone, soprano, alto, sopranino and c-melody saxophones as well as contrabass and the bass clarinets. He has performed and recorded with such legends as Cannonball Adderley, Fred Anderson, Ornette Coleman, Ed Blackwell, Ellis Marsalis, Ray Charles, Cecil Taylor, Stevie Wonder, Aretha Franklin, Gladys Knight, Ed Blackwell, The Temptations, Big Maybelle, Archie Shepp, Sun Ra, Peter Korvald, William Parker, Alan Silva, Louis Moholo, Sunny Murray, Harnid Drake, and Ellis Marsalis, just to name a few. A big part of Mr. Jordan's rsum is the Improvisational Arts Ensemble a group he founded with drummer Alvin Fielder, trumpeter Clyde Kerr, Jr. and bassist London Branch. The inclusion of the late Alvin Thomas transformed the group into the Improvisational Arts Quintet.

Kidd organized the first World Saxophone Quartet in 1976 that included Julius Hemphill, David Murray, Harniet Bluiett, and Oliver Lake. He has amassed a discography of over 30 recordings and has performed in jazz and music festivals around the world including Germany, Netherlands, Finland, France, and Africa, has been a featured performer with the New Orleans Philharmonic, as well as performed with various “pit bands" in support of shows that come through New Orleans. Kidd has been a regular performer at the Visions Festival in New York.

Mr. Jordan shared his passion for music with scores of students who attended SUNO or participated in on-campus programs. Mr. Jordan's work also included founding such programs as the Louis Armstrong Jazz Camp and the Heritage School of Music.

His work has been documented by CBS News 60 Minutes and he was honored with Offbeat magazine's first Lifetime Achievement Award for Music Education. In 1985 the French Ministry of Culture bestowed knighthood on Mr. Jordan as a Chevalier of the Ordre des Arts et des Lettres, the French government's highest artistic award for his work as an educator and performer. In 2008 Mr. Jordan was also named a Lifetime Achievement Honoree at the Vision Festival XIII in New York City.

In 2008, The Southern University at New Orleans Foundation honored Mr. Jordan during their annual BASH III, which recognized outstanding contributions to the university system. The virtuoso unselfishly shared his gift of and passion for music for 51 years, 36 of which he spent at Southern University at New Orleans. In June of 2009, he will receive Lifetime Achievement Awards from the Preservation Resource Center during their 9th Annual Ladies in Red Event, and NOLA.TV's Asante Awards respectively.

For the past three decades or so Kidd has had a highly productive and close relationship with drummer Alvin Fielder. Kidd developed a close musical relationship with innovative pianist Joel Futterman back in the early 90's and they continue to perform and record together. Kidd's first recording was titled, “No Compromise" and that very accurately expresses his personal conviction about his music.

To this day, Kidd still practices his instruments seriously. He has been known to practice by playing musical phrases in response to bird's and other sounds of nature. For Kidd creating music is all about developing one's ear. As he says, “you have to hear what you're trying to get at." Asked to define his work, Jordan calls it “creative improvisational music."

Although Mr. Jordan's dedication to music education can safely be described as unmatched, his dedication to his family has been immeasurable. Through the years he has been able to boast being the husband of Edvidge Chatters Jordan and the father of Edward, Jr., Christie, Paul, and four children who are professional musicians; Kent, a highly regarded flutist; Stephanie, a jazz singer who critics have compared to Shirley Horn and Nancy Wilson; Rachel, a classical violinist and music instructor at Jackson State University; and Marlon, one of the world's top trumpeter. Mr. Jordan even found a horse racing and training partner in his nephew Maynard Chatters, Jr.

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11th Annual Twin Cities Jazz Festival Set For June 18-20, 2009


Allen Toussaint, Esperanza Spalding, The New Standards and many more to perform at free outdoor concerts in Mears Park in Saint Paul.


St. Paul/Minneapolis, MN -- The jazz festival that almost wasn't has announced an exciting lineup for its 2009 edition. The Twin Cities Jazz Festival was so hard pressed to secure adequate sponsorship money for its 11th annual event that organizers were prepared to cancel the event in 2009 and attempt to return in 2010. Through eleventh-hour efforts and the generosity of sponsors that did not want to see this Twin Cities tradition falter, the Twin Cities Jazz Festival will return on June 18, 19 & 20, 2009. Although the Festival will cover fewer days than its usual two-week run, the lineup promises to make it one of the most potent in the events history. New Orleans R&B legend Allen Toussaint headlines the Friday, June 19 free concert in Mears Park in downtown Saint Paul. The Mears Park lineup on Saturday, June 20, includes 24 year-old bass and vocal sensation Esperanza Spalding and the Twin Cities-based group The New Standards.

Other highlights include a Jazz Night Out club crawl on Thursday, June 18 featuring over 15 clubs in downtown Saint Paul (benefitting the St. Paul Festival and Heritage Foundation), a Mears Park performance by Chastity Brown on Jazz Night Out, a performance by Twin Cities sax master Irv Williams (and a celebration as he approaches his 90th birthday), the return of young sax wiz Alex Han and piano man Jon Weber, performances at the Artists' Quarter jazz club and the Hat Trick Lounge, and more. The entire 2009 Twin Cities Jazz Festival will take place in downtown Saint Paul. All of the concerts in Mears Park are free admission. For more information, visit TwinCitiesJazzFestival.com.

Allen Toussaint is the first member of the Rock and Roll Hall of Fame to appear at the Twin Cities Jazz Festival. Whether you call him jazz, R&B, rock or some other label, this New Orleans singer, songwriter, pianist, producer and arranger is simply a musician's musician. Dating back to the early 1960s, Toussaint was one of the key architects of the New Orleans sound. His early songs were recorded by greats like Irma Thomas and Aaron Neville. His songs have been covered by everyone from Glen Campbell (Southern Nights) to the Rolling Stones to Robert Plant and Alison Krauss. Toussaint's 2006 CD collaboration with Elvis Costello, The River in Reverse, was a reflection on Hurricane Katrina. His latest release, “The Bright Mississippi" on Nonesuch, finds Toussaint embracing great jazz from the early 20th century.


Esperanza Spalding is a 24 year-old bassist, singer and composer who was raised in a multi-lingual house and neighborhood in Portland, OR. At age 4 she was so inspired by a Yo-Yo Ma performance on Mr. Rogers Neighborhood, that she knew right then that she wanted to pursue music. She eventually attended Berklee College of Music, and at age 20 became the schools youngest faculty member ever. Her jazz is infused with elements of funk, blues, hip-hop, Afro Cuban and more. This is a young star on the rise. The New Standards features Chan Poling, John Munson and Steve Roehm performing jazzed-out versions of songs by artists as diverse as The Replacements, OutKast and The Velvet Underground. First appearing at the Festival in 2005, Alex Han wowed the crowds with his amazing saxophone skills. Han is only age 21, and he has already made a big impression in the world of jazz.


See the Festival's website at TwinCitiesJazzFestival.com for complete listings of performances.

Live Broadcast. Portions of the Festival will be broadcast live on KBEM 88.5 FM in the Twin Cities on Friday, June 19, and Saturday, June 20. It has been several years since the Festival was last broadcast live. Visit Jazz88's website for details at jazz88fm.com.


Visual Jazz. Visual Jazz returns to the Twin Cities Jazz Festival with an opening reception on Wednesday, June 17 at the Grand Hand Gallery on historic Grand Avenue in Saint Paul. Noted Saint Paul artist (and jazz fan) Seitu Jones is the guest curator for the Visual Jazz exhibit, and he will be on hand along with other exhibiting artists at the Opening Party. Live music, wine, hors doeuvres and jazz-inspired art will all be part of this kickoff event. The Visual Jazz exhibit runs through July 8, 2009 at the Grand Hand Gallery. Visit thegrandhand.com for more information.


Support and Sponsors. Many non-profit civic events have found difficulty raising necessary sponsorship money in the currently-stressed economy. The Twin Cities Jazz Festival is no exception, and despite vigorous efforts to raise money it appeared that the event would not take place in 2009. The office of Saint Paul Mayor Chris Coleman, including Director of Arts and Culture Joe Spencer, showed real leadership by setting a vision for a new path to financial viability. The Mayors office was crucial in bringing people together to build logistical and financial support critical to the event. Returning sponsor Northwestern Foods, major new sponsor TDS Metrocom, the Lowertown Future Fund of The Saint Paul Foundation, several Saint Paul businesses and the St. Paul Festival and Heritage Foundation also stepped in to help save the day. The additional businesses that are sponsoring the festival include Barrio, The Black Dog Caf, The Bulldog, The Hat Trick Lounge, Rumours & Innuendo, Senor Wong, Station 4, and Trattoria da Vinci. This coalition of Lowertown businesses banded together to help bring the Twin Cities Jazz Festival back to their neighborhood.

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AllAboutJazz-New York June 2009 Issue Now Available!


Every June we begin getting excited for jazz festival season in the city. Unfortunately, for the first time since 1984, New York City, once the jazz capital of the world (a title threatened by New Orleans, Berlin or maybe one of several Canadian metropolises), will be without a JVC Jazz Festival. Of course, the truth is every day here is a festival but for a few weeks the music’s profile seems to rise close to that of its more lucrative cousins and all of a sudden everyone is a fan. Instead, former JVC promoter George Wein will present a series of concerts at Carnegie Hall this month to fill the void.

But we would be remiss in not reminding you of the other festival that usually competes with JVC each summer, The Arts for Art Vision Festival. This stalwart avant garde music gathering doesn’t have to worry about corporate sponsors, representing the grassroots side of the jazz spectrum. Featured in its 14th edition is legendary drummer Milford Graves, our Cover story, as well as our Megaphone writer Marshall Allen, receiving a Lifetime Achievement Award. And a number of other, smaller, celebrations do their part, including the Brooklyn Jazz Underground Festival, Festival of New Trumpet Music and Made In The UK Festival. See our Event Calendar for complete listings.

The rest of our coverage reinforces the notion of New York City being a 365- day-a-year jazz celebration. Two more drummers, Lewis Nash (Interview), Jim Black (Artist Feature), along with the Brooklyn Jazz Underground imprint (Label Spotlight) and new hotspot Tutuma Social Club (Club Profile), are a festival on their own. Add to that the rare appearance of British sax Peter King (Encore) and hundreds of other concerts and maybe we are still the center of the jazz universe. But that can only stay that way if the city’s residents and visitors support its jazz community. Show corporate behemoths like JVC that jazz will not live and die by their dispensation. This art form has survived and will keep doing so.

It’s up to all of us... We’ll see you out there...

We’ll see you out there...

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