The Jazzcat

REST IN PEACE
1959-2008

Tony Reedus, 49, top jazz drummer
Wednesday, November 19,

Jazz music continues to take so many hits. The International Association for Jazz Education conference has been for so many not only educational, informative, entertaining and a great resource, but one of the greatest networking jazz hangs around.

Dear IAJE Family, It is with a great sense of loss that I inform you that despite drastic efforts to cut expenses and raise emergency funds, the IAJE Board has voted to file for bankruptcy under Chapter 7 of the Federal Bankruptcy Law. I want to thank profusely those who responded with their generous donations and offers of assistance following my last communication. While over 250 individuals contributed just over $12,000, this, along with the many other efforts and contributions of IAJE staff, Board members, and association partners, was simply not enough to address the accumulated debt of the organization or its urgent need for cash relief. In the next few days, a Kansas bankruptcy court will appoint a trustee to oversee all ongoing aspects of the association. This includes the ability to examine IAJE's financial records and mount an independent inquiry into the causes of it's financial downfall as well as disposing of the remaining assets of the association with proceeds distributed to creditors in accordance with Kansas and Federal law. The board will no longer be involved in operation of the organization and will at some point resign. IAJE as it presently stands will no longer exist. Approximately a week after filing, all potential creditors of the association will receive notice of the association's filing from the court. Members who desire additional information regarding the petition, including a complete listing of association assets and liabilities, may retrieve this, as it is a public document, through normal court procedures. Undoubtedly, however, you will have more immediate questions deserving of responses I hope to address in this report. Since the first communication to the membership outlining this crisis, there has been considerable public speculation as to its causes. As noted in that communication, years of dependence upon the conference as a primary (but unreliable) revenue stream and the launch of a well-intentioned capital campaign (the Campaign for Jazz), which generated a meager response but required considerable expenditures in advance of contributions, drove the association into insolvency. Sadly, the attendance at the conference in Toronto (the lowest in 10 years) exacerbated an already critical situation, depriving the association of the cash-flow needed to continue daily operations as well as the time needed to seek alternative resources. While ultimately not able to skirt the financial land mines placed in its path, I want to assure you the IAJE Board has acted responsibly, ethically, and with a sense of urgency ever since it was blindsided last fall with the discovery of the extent of the accumulated association debt. Since that time, the board slashed spending, set specific performance targets for the Executive Director, sought outside consultations, and enlisted the services of several past-presidents and strategic association partners in attempts to raise funds – sadly, with minimal success. It goes without saying, the board you elected is comprised of very accomplished, intelligent, and dedicated educators and professionals who have given generously of their time in service to this association and care about it passionately. Likewise, our entire professional staff, led by Associate Executive Director, Vivian Orndorff, and Executive Producer, Steve Baker, has worked heroically in the face of declining resources to meet the needs of the association and its members. I wanted to take this opportunity to thank both the board and staff for their service. I have been privileged and honored to serve with them. While there may be those who question specific decisions or strategies in efforts to meet this crisis, the dedication and integrity of these individuals should never be in doubt. As we move forward, one of the most pressing questions is how the operations of individual chapters and affiliated associations will be affected by this filing. Since our chapters are either separate corporate entitles or voluntary associations with their own boards, constitutions and bylaws; IAJE views them as completely independent entities. Ultimately, however, the trustee and the court will make this determination and it is anticipated that the trustee may request certain information from the chapters in this regard. Sadly, the 2009 IAJE International Conference in Seattle has been cancelled. However, there has been some discussion of mounting a regional conference in its place. At the moment, Lou Fischer, U.S. Board Representative is fielding inquiries: ljazzmanf@yahoo.com. For the time being, the IAJE website will remain up. However, the international offices of IAJE will close their doors at the end of the day on Friday, April 18th. Should there be additional questions you may submit them to info@iaje.org and every attempt will be made to respond to these as staffing allows. Today, we, the members of IAJE and the global jazz community, face an extremely important task. For, as we all recognize, the opportunities, impact, and work of this association are too vital to simply disappear. Whether you were first drawn to IAJE for its conference, its magazine or research publications, its student scholarship programs such as Sisters in Jazz or the Clifford Brown/Stan Getz All-Stars, its Teacher Training Institutes, the resources provided through its website or Resource Team, or any one of a number of other offerings; it is clear the mission of IAJE still resonates and its advocacy is needed today more than ever. We must, therefore, look at this as an opportunity to refocus the mission, scope, programs, and vision of IAJE (or whatever succeeds it) to better meet the needs of our members and the jazz community not only today but looking toward the future. I am, in no way, suggesting the membership turn a blind eye towards the need for an independent inquiry into causes and ultimately assigning responsibility for this situation. I ask you recognize the court appointed trustee, who will have access to all necessary documents and facts, is charged with that task. Our efforts and our passion, should be to collectively rally the community to recognize the importance IAJE has had and continues to have in the life and development of jazz and jazz education – seeking new strategic partnerships, new government structures, and a revitalized mission that embraces current needs. Already there are efforts to do just that. I know that Mary Jo Papich, who would have begun serving her term as President of IAJE beginning this July, is dedicated to recreating such an association. As many know, Mary Jo has been a tireless advocate for IAJE, serving it long and well. You will, undoubtedly, be hearing from her in the near future. When she does contact you, I urge you to join me in offering her every support and assistance. Of course, others may also seek to fill this void by promoting alternative visions for empowering, serving, and gathering the jazz community. While I generally believe such diversity is quite healthy, I would strongly encourage all such efforts and leaders to attempt to collaborate and seek ways to unite us in spirit and strength. Finally, I would encourage you to recognize and remember IAJE for all the tremendous good it has done in the past 40 years. Many individuals have contributed along the way, often at considerable personal sacrifice of their time and resources, to establish and advance the work of this association. Much has been achieved that can never be taken away! Therefore, the vision, effort, and shared passion that have fueled the growth of IAJE and its programs should not be forgotten or considered in vain. Rather, the spirit that is IAJE must be rekindled into a new vision for the future. Sincerely, The IAJE Board – Chuck Owen, President

JOSHUA TREE, Calif. — Jazz singer Nancy Wilson is in hospital for treatment of a collapsed lung.

A

spokeswoman for the 71-year-old Grammy-winning singer says she is

expected to recover but will not be able to make a performance

scheduled in Memphis, Tennessee next weekend. Devra Levy, wife of

Wilson's manager, John Levy, said Wilson's lung was being reinflated at

Hi-Desert Medical Center in Joshua Tree, California.

She says the singer is in good spirits.

Wilson,

who lives in the Southern California high desert, began experiencing

pain and was taken to the hospital by her husband, Wiley Burton.

Devra Levy said she did not know the cause of the collapsed lung.

She said Wilson has had some respiratory problems over the years.

Wilson has been singing professionally for more than 50 years and is semiretired.

Last

year, her album “Turned to Blue” won the Grammy for best jazz vocal

album. She also won that category at the 2005 Grammys for the album

“R.S.V.P. (Rare Songs, Very Personal).” In 1965 she was presented the

Grammy for best rhythm & blues recording for “How Glad I Am.”

The Canadian Press

Click the picture for the story!

Click Picture Above for Website Tributes

In 1959, Joe Zawinul emigrated to the United States on a scholarship to

study at the Berklee School of Music in Boston but left to join Maynard

Fergusion's big band. He next landed a gig with Dinah Washington. His funky

In 1961 Joe Joined Cannonball Adderley's band in 1961. During his nine-year

stint with the band, he composed such tunes as “Walk Tall,” “Country Preacher,”

and most notably the gospel-influenced, soul-jazz anthem “Mercy, Mercy, Mercy,”

his first important recording on electric piano, which climbed the pop

charts.

In the late 60's Zawinul's pioneering work on the new Fender Rhodes

electric piano caught the ear of Miles Davis…Joe recorded with Davis' studio

band, His tune “In a Silent Way” served as the title track for the trumpeter's

first foray into the electric arena. Zawinul's composition “Pharoah's Dance” was

featured on Davis' groundbreaking 1970 jazz-rock fusion album “Bitches

Brew.”

After releasing his debut solo album in 1970, Zawinul teamed with

WayneShorter, who had just left Miles' band, to form Weather Report, which

became the preeminent jazz-rock fusion band of the 1970s. Weather Report enjoyed

its biggest commercial success with the 1977 album “Heavy Weather” which

featured Zawinul's catchy tune “Birdland,” which became one of the most

recognizable jazz hits of the '70s after it was also recorded by Maynard

Ferguson and the vocal group Manhattan Transfer.

After Weather Report broke up in 1986, Zawinul went on to form The Zawinul

Syndicate, which brought together a global village of musicians who recorded

such albums as the Grammy-nominated “My People” (1996) and “World Tour”

(1998).

Zawinul's wife, Maxine, died earlier this year. Plans for Zawinul's funeral

were unclear but Vienna, Austria Mayor Michael Haeupl told reporters Tuesday

morning he would be given an honorary grave in the capital.
 

Jazz  – America's Gift to the world!

We've lost another one .  .  .
Dr. Art Davis, the legendary bassist, has passed away

 
Dr. Art Davis,

72; jazz bassist, educator and activist

                                                                                                                                                                                                                                                               By Jeffrey Winston

     Art Davis, the classically-trained bassist, author and clinician, passed away on July 29 at his Long Beach home, following complications from diabetes and heart disease.

     A virtuoso of the highest order, Davis earned critical acclaim, beginning in the fifties, playing with Clifford Brown, Dizzy Gillespie, Quincy Jones, Clark Terry, Art Blakey, Gigi Gryce, Roland Kirk, Oliver Nelson, Coleman Hawkins, Freddie Hubbard, Zoot Sims, McCoy Tyner, Lalo Schifrin, Eric Dolphy, Abbey Lincoln, Wayne Shorter and scores of others.  Art’s uncanny timing and robust tone enhanced any ensemble while his arco and pizzicato execution was impeccable.

     Davis received his Ph.D. at NYU in clinical psychology.  He also held Master’s degrees in music and psychology.  When he wasn’t performing, Dr. Davis maintained a thriving, private practice.  Although Art’s dual careers propelled him to lofty heights, he remained grounded as a devoted family man.  His son,

Kimaili Davis, said, “As I reflect on his life, I realize how much he was there for us.”

Click 1st Picture for Video and 2nd Picture for Interview

     A native of Harrisburg, Pennsylvania, Art initially studied the piano before switching to both the bass and tuba in high school.  He garnered several awards for his command of both instruments, including prestigious scholarships to Julliard and the Manhattan School of Music.  Dr. Davis studied with cellist Lazlo Varga and Anselme Fortier, the principal bassist with the New York Philharmonic.  Many years later, Dr. Davis would develop a multiple-finger technique for the right hand and publish The Arthur Davis System for Double Bass.

     In 1958, Davis made his recording debut with Max Roach, George Coleman and Booker Little at the Newport Jazz Festival.   John Coltrane found the budding bassist working with Roach’s ensemble at Small’s Paradise in Harlem.  Coltrane was between sets of his own gig at Birdland, so he invited Art to “practice” with him.  Early the following morning, Coltrane arrived at Art’s hotel.  The ensuing sessions were intense, lasting for several hours each day.  John’s tenacity and discipline deeply inspired his young protégé.  In 1961, he became only the second African American member of the NBC Staff Orchestra, working regularly on the Merv Griffin, Jack Paar and Johnny Carson Shows.

      During his close association with John Coltrane, Art Davis played on stellar recordings such as Ole Coltrane, Africa Brass and Ascension.  Davis even appeared on an unreleased, original version of A Love Supreme with Archie Shepp.  It has remained in the vault for decades.  Although his demanding studio schedule prevented him from becoming a regular member of Coltrane’s celebrated quartet, the two remained extremely close until his death in 1967.   Davis toured with Dizzy Gillespie’s band but after two   years, he grew weary of the road and chose to freelance around New York City. 

    Throughout his prolific career, Art also appeared with practically everyone from Lena Horne, Kenny Dorham, Count Basie, Louis Armstrong, Thelonious Monk, Gene Ammons, Lee Morgan, Gil Evans and Hilton Ruiz to Judy Garland, Bob Dylan and Barbara Streisand.

    In 1993, Dr. Davis founded Better Advantages for Students & Society (BASS), a non-profit organization that awarded stipends to university students in all disciplines.  Two years later, he established The Gladys Davis Memorial Scholarship in honor of his late wife, a health care provider.

    Looming larger than life, an outspoken Davis championed many grassroots causes as a tireless advocate and mentor.   Though brutally honest, his uncompromising views on race, politics and culture were not always applauded. 

     Upon learning of his death, fellow bassist John Clayton said,” Art continued to contribute to the jazz world until the end.  He was an integral part of so many classic recordings, especially in the 60’s.  LA Weekly critic Brick Wahl adds, “Of all the sets I’ve seen at the Central Avenue Jazz Festival over the years, the good doctor’s were the most daring, gutsy and safety-net-be-damned things I ever saw.”

     Dr. Davis is survived by two sons, Kimaili Davis and Mureithi Davis; and a daughter, Taisha Jack.  Funeral arrangements are pending.

Jeffrey Winston

The World Stage

“He was a real cool cat, I am glad I knew him, vibed with him. He's there with
Horace, Billy, Miles and all the rest,
  He's alright.
  I have a rare (VHS) film that has never been shown publicly. It is a little concert
  (1997, I think) featuring Billy Higgins, Horace Tapscott, Dwight Trible and
Dr. Art Davis, at a small restaurant called, CEBU, it was in the Leimert Park
area and has since been torn down to make way for a housing development. These
giants performed this concert as a benefit for my Malcolm X community festiva
and related youth projects. They did not charge me a dime, and of course they
torn the place up! I'd sure love to have someone look at it, see what can be
done to preserve it, share it with the masses.
  As far as I am concerned, they were all the best at what they did
respectively, and Mr. Trible is of course still young, vibrant and doing his
thing to preserve the music/culture. I am proud to have been friends with all
of them.

  Boy, those were the days…

  Torre` Brannon Reese
  323. 864.2656
Torre' Reese