(aus dem Jazzinstitut Darmstadt)
27 July – 9 August 2023 | Ausgabe 15/2023 (English)

We read the morning paper for you!

Dear 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.

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 to 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!

... brief news ...

David Mouriquand reports about an exhibition at the Dutch Rijksmuseum van Oudheden that aims at showing the influence of ancient Egypt on Black music, from Miles Davis and Sun Ra to Beyoncé and Rihanna. The exhibition has enraged Egyptian authorities, who accuse the museum of "falsifying history" with its "Afrocentric" approach, which they believe seeks to appropriate Egyptian culture (Euro News). --- German vocalist Friede Merz writes about her own experiences of abuse of power at the jazz department of a German music university (Friede Merz Music), a plea taken up both by online media and especially on social media (Bleistiftrocker, JazzCity). Odilo Clausnitzer talks to drummer and educator Eva Klesse about the subject (Deutschlandfunk). An aside to this discussion is Merz's reaction to the club Donau115's decision to close down for at least a month (Donau115) in reaction to programming choices which they made and that were questioned by some parties involved (Friede Merz statement).

John Edward Hasse celebrates the centennial of producer Ahmed Ertegun (Wall Street Journal). --- Giovanni Russonello listens to the latest album "Bark Out Thunder Roar Out Lightning" of trumpeter Chief Xian aTunde Adjuah, also known as Christian Scott (New York Times).

Philadelphia saxophonist and educator Lovett Hines celebrates his 80th birthday, and WRTI honors him with a feature, talking to J. Michael Harrison, Christian McBride, Sumi Tonooka, Jeleel Shaw, Orrin Evans, Jamaaladeen Tacuma and Hines' wife Carla Washington (WRTI). --- Steve Baltin talks to pianist Robert Glasper about his role as curator of the Blue Note Napa Jazz Fest and how that allows him to invite artists he would like to connect or play with, as well as to bassist/vocalist Meshell Ndegeocello about the community feeling of the festival, about the idea of jazz as a state of mind and as Black American Music, about her fascination with George Clinton, as well as about five artists she would invite to the festival, were she the curator (Forbes).

Lewis Porter posts the last part of an audio documenting a conversation from 1964 between critic Ira Gitler and drummers Tony Williams, Art Blakey, Cozy Cole, and Mel Lewis (Playback with Lewis Porter). --- Vinnie Sperrazza remembers drummer Clifford Jarvis and listens to some of his recordings with Barry Harris and Sun Ra from the early 1960s (Chronicles).

Robert Fröwein talks to German vocalist Thomas Quasthoff about the difference between performing in a jazz club or on a classical performance stage, about his own approach to singing jazz standards, about the gift of his voice, about his career break after two deaths in the family, about the freedom of jazz, as well as about just standing on stage as a handicapped person being a political statement (Kronen Zeitung). --- Nicky Schrire continues her series on mothers in jazz with an interview with vocalist Sarah King (London Jazz News) and vocalist and songwriter Joanna Wallfisch (London Jazz News).

Reinhold Radloff talks to German bassist Rocky Knauer about music in the family, about his road into jazz, about his youth in the USA and Canada, about playing with the likes of Max Greger, Hugo Strasser and Chet Baker, as well as about dealing with his visual handicap, especially when playing classical music (Augsburger Allgemeine). --- Giovanni Russonello asks musicians, critics and scholars about a recording each of Miles Davis' electric period that they'd play for a friend to get them into jazz, and he talks to poet Kalamu Ya Salaam ("Mademoiselle Mabry (Miss Mabry)"), drummer Cindy Blackman Santana ("Miles Runs the Voodoo Down"), electronic musician Flying Lotus ("Lonely Fire"), trumpeter Wadada Leo Smith ("Prelude, Pt. 1"), saxophonist Lakecia Benjamin ("Human Nature"), trumpeter Terence Blanchard ("Filles de Kilimanjaro"), electronic musician Teebs ("In a Silent Way / It's About That Time"), flutist Elena Pinderhughes ("He Loved Him Madly"), scholar Tony Bolden ("Yesternow"), critic Giovanni Russonello ("Hannibal"), poet Harmony Holiday ("Two Faced"), trumpeter Graham Hayes ("Lonely Fire"), critic David Renard ("Rated X"), electronic musician Jlin ("Pharaoh's Dance"), trumpeter Ibrahim Maalouf ("Turnaround"), and critic George Grella Jr. ("Sivad") (New York Times).

Melena Ryzik talks to pianist Jason Moran about the inaugural exhibition at the new Louis Armstrong Center next door to the Louis Armstrong House Museum, which he curated, selecting from the vast collection of Armstrong memorabilia, his notes, recipes, instruments, books, collages and more. She also talks to the Armstrong Center's executive director Regina Bain about future programming at the center, which will make sure to also engage the neighboring community (New York Times). --- Robert Miessner hears trombonist Conny Bauer, bassist Matthias Bauer and drummer Günter 'Baby' Sommer in concert and remembers the importance of jazz and improvised music for East Germany before 1989 (die tageszeitung).

Christoph Wagner listens to the trio of German vibraphonist Christopher Dell, bassist Jonas Westergaard and drummer Christian Lillinger, and he talks to Dell about the work that goes into the trio's musical density, about the need for endless rehearsals because "the music must pass into the subconscious, into the body and motor activity, otherwise it does not work" (Neue Zürcher Zeitung). --- Lewis Porter discusses Swedish journalist Claes Dahlgren's 1959 interview with Warne Marsh in with the saxophonist talks about his influences, his involvement with the Lennie Tristano band and Lee Konitz, as well as about free improvisation (Playback with Lewis Porter). --- Lewis Porter also begins a new series about some of the controversial aspects of bebop, starting with a discussion of the seemingly complex arrangements of bebop, focusing on Dizzy Gillespie and Charlie Parker's recording of "Salt Peanuts" (Playback with Lewis Porter).


We learned of the passing of German sound engineer Ansgar Ballhorn at age 72 (Wir trauern), Canadian discographer Jack Litchfield at age 93 (Facebook: Mark Miller), guitarist Dom Minasi at age 80 (The Jazz Guitar Life), German promoter Gaby Kleinschmidt at age 84 (Jazz Thing), cellist Tristan Honsinger at age 73 (Jazz Pages), trombonist Tom Artin at age 84 (Facebook: Bill Crow), photographer Gary Gladstone at age 88 (Joseph J. Smith Funeral Home), British trumpeter Ernie Garside at age 91 (Facebook: Ernie Garside), clarinetist Earl Scheelar at age 93 (Syncopated Times), vocalist Mae Arnette at age 91 (Boston Globe), as well as French pianist Denis Badault at age 65 (Slipped Disc).

From the World of Jazz Research

Funded PhD Studentship on Improvised Music
The School of Music at University College Dublin offers a fully funded four-year PhD studentship in music, supervised by Dr Sarah Raine and Dr Jaime Jones. The position is part of Dr Raine’s SFI-IRC Pathways Fellowship, Improvising Across Boundaries: Voicing the experience of women and gender-minority improvising musicians. More information: University College Dublin.

Childhood of Charlie Parker
The American Jazz Museum has an online exhibition curated by Chuck Haddix about the childhood of Charlie Parker, showing places he lived at in Kansas City, the school he attended and two early recordings of Bird from the early 1940s (Arts and Culture).

Last Week at the Jazzinstitut

Destination Unknown: The Future of Jazz
Just another reminder of our fall conference plus festival, focusing on "Destination Unknown: The Future of Jazz". Take note of the dates: 27/28-30 September 2023. More information is available here: Destination Unknown as well as on the corresponding blog that outlines some of our own thoughts on the subject. The main conference language will be German.

32nd Darmstadt Jazz Conceptions
We told you about our annual workshop that took place two weeks ago. That musical week ended with two extraordinary concerts of the six ensembles and the teachers' band. Extraordinary because all of the participants dared confront themselves with musical concepts they were not too familiar with in their respective ensembles, and because the final concert of the teachers showed how a very diverse band of musicians made it hard to believe they had never played together in that lineup. The teachers' band consisted of tubaist Matthew Bookert, saxophonist Daniel Guggenheim, trombonist Johannes Lauer, percussionist Laura Robles, vibraphonist Taiko Saito, as well as pianist and artistic director Uli Partheil. There will be a 33rd edition of our Jazz Conceptions workshop next year, probable dates: 15 – 20 July 2024.

Darmstadt Summer Course + Braxton Conference
Seth Colter Walls hears Anthony Braxton's opera "Trillium X", finished in 2014 but only now premiered by the Prague Music Performance Orchestra (New York Times). Braxton and the Prague Orchestra traveled on to Darmstadt where they played "Language Music" during the sold-out pre-opening concert of the Darmstadt Summer Course last Saturday. Braxton himself performed "Thunder Music" with a 16-piece ensemble on Monday, and he is being celebrated by a two-day conference this Tuesday and Wednesday. Braxton's Creative Orchestra, made up from participants of the Summer Course, will be performing on 15 August, and his "Ghost Trance Music" is on the program on 18 August in a collaboration of the Belgian Ictus Ensemble and dancers from Anne Teresa De Keersmaeker's company Rosas. With more than 500 people in town for the event (teachers, students, musicians, ensembles), Darmstadt is, once again, at the center of contemporary music discourses these days. You can witness it on the tram or the table next door in cafés near the Jazzinstitut, where people will discuss instrumental techniques, compositional approaches or the new book "Composing While Black" which was presented on Monday by its editors Harald Kisiedu and George E. Lewis (program, Darmstädter Ferienkurse).

Current opening hours of the Jazzinstitut
The Jazzinstitut is open to the public by appointment. We also offer research help by phone, e-mail or video-call. If you would like to schedule a video call, please send an e-mail to make an appointment and give us an idea what you want to talk about. We will then reply with a link for a Webex video session for your meeting.

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Jazzinstitut Darmstadt
Bessunger Strasse 88d | 64285 Darmstadt | Germany
The Jazzinstitut is an institution of the City of Sciences Darmstadt | Das Jazzinstitut ist eine Einrichtung der Wissenschaftsstadt Darmstadt