Now in its 12th year, the Jarasum Jazz Festival regularly draws between 200,000 and 250,000 people over three days. Jarasum estimates that 88 percent of its 2015 audience was under age 40. To put this demographic in perspective, the numbers are basically flipped at the Newport Jazz Festival, where a 2012 survey found that 82 percent of its audience is over age 45. Read more at npr.org
NPR Music is pleased to present the results of a poll where 147 jazz critics selected their favorite recordings of 2015. Read more at npr.org
Charles Daniels Sheet Music Collection – http://searchworks.stanford.edu/view/10447189
The Charles Daniels Sheet Music Collection principally contains sheet music of works either composed by Daniels, published under his given name or one of his pseudonyms, notably Neil Moret, or works published by one of the many publishers Daniels was affiliated with during his career. Also included are piano rolls of works by Daniels, various periodicals from the late 19th and early 20th centuries, ephemera, and compositions and publications by the creator of the Charles Daniels Sheet Music Collection, Nan Bostick.
Monterey Jazz Festival Collection – http://searchworks.stanford.edu/view/7154358 (N.B details of the live festival recordings in this collection have been online for some time http://collections.stanford.edu/mjf/. Recent processing has included the creation of a finding aid that details the entire collection in addition to these live audio and video recordings) The collection contains the archives of the Monterey Jazz Festival from 1958 to the present. It primarily consists of unpublished sound recordings and videos of festival concerts, and interviews and panel discussions in various formats, many of which are also available as digital sound and video files. Also included are a variety of recordings received with the collection that are not recordings from the festival itself, but instead feature content connected to the festival in some way, such as studio recordings of artists who performed at the festival, demo tapes for artists wishing to perform at the festival, or various recordings relating to festival founder Jimmy Lyons in some way. Some books, photographs, posters, programs, and other miscellaneous papers can also be found in the archives. The collection adds material every year.
“Ever since “Evolution of Dance,” YouTube and videos which condense an entire canon into minutes have seemed made for each other. Except here it’s not just some dude who can shake it, but pianist Kris Bowers, a Thelonious Monk Competition and highly sought-after young gun. Here, alongside YouTube history veterans CDZA, he provides an overview of jazz piano styles from the late 1800s to the present day.”
For the full story, please see NPR.org
Can a government swing? You know, the way a great jazz band does? Is it possible to find that magical balance between individual freedom and what’s good for the group? Dr. Wesley Watkins has a unique view of democracy — that at its best it’s got the tone and timbre of the best jazz ensembles, where there’s structure but there’s also plenty of room to solo. Learn more at ozy.com
Yusef Lateef, a Grammy Award-winning musical explorer who played many exotic instruments and was among the first to combine jazz with elements of what became known as “world music,” died Dec. 23 at his home in Shutesbury, Mass. He was 93. Read more at the Washington Post.
“In today’s strained environment for arts support, the funding wonderland of Norway can incite jealousy. Yes, Norway is an oil-rich country; it also allots a respectable percentage of its oil wealth to pioneering art, making it a model for exactly what well-spent money for the arts can engender.”
For the full story, please see NPR.org
“What is a mistake? By going through examples with his improvisational jazz quartet, Stefon Harris gets to a profound truth: many actions are perceived as mistakes only because we don’t react to them appropriately.”
Listen to this TED radio talk for the full story.
Listen to the full story at NPR.org.
The Stanford University Archive of Recorded Sound began continuous web streaming of the Riverwalk Jazz programs consisting of more than 350 hours of historic radio broadcasts on January 1, 2013 from http://riverwalkjazz.stanford.edu. Using rich narrative, oral histories and interviews, clips of historic musical recordings, and live musical performances by the Jim Cullum Jazz Band, each radio show entertains and educates its listeners, promoting classic jazz music and an appreciation for its place in history. With this new web site, the series of programs is an incomparable research collection for use by jazz scholars and fans alike.
The home page makes two channels of programs available like a radio webcast with each channel playing a unique sequence of 352 shows in an ongoing loop, including some of the earliest shows which have not been heard in over 20 years. The arrangement is thematic, covering topics such as women in jazz, spirituals, hymns & the blues, civil rights, and hot spots like New Orleans, Chicago, Harlem, San Francisco, and Texas. Many programs focus on the lives and works of musicians, singers, and composers such as Bix Beiderbecke, Louis Armstrong, Bessie Smith, Fats Waller, George and Ira Gershwin, and Cole Porter among many more.
For the first time Stanford Libraries is presenting audio content from its collections like a licensed radio station. The Riverwalk Jazz audio programs are supplemented on the web site with illustrated program notes, photo galleries, additional audio content, and detailed information about the Jim Cullum Jazz Band players, their show guests, and the nearly 1300 songs they perform together. In addition, a detailed finding aid (http://www.oac.cdlib.org/findaid/ark:/13030/c8222vcv/) describes the large archive of tape recordings, scripts and production files, business records, and other documents preserved at the Archive of Recorded Sound. More content will be added to the site in early 2013.
For more information about the project and to gain access to the Riverwalk Jazz archives, contact the Stanford Archive of Recorded Sound (firstname.lastname@example.org; 650-723-9312).