The National Jazz Museum Chicago

The National Jazz Museum provides opportunities to explore and experience the dynamic evolution of Jazz. Captured in the mission statement are the three key aspects of the NJM – exploration, experience, and the evolution of Jazz.

  • The Experience of Jazz: Jazz, the subject of the National Jazz Museum, is not a physical artifact, and cannot be put behind glass and observed to be appreciated – it must be experienced. The NJM’s programs, exhibitions, media, and extended presence outside the museum will provide visitors with unique and compelling jazz experiences through interaction, personal engagement, and live performance
  • The Exploration of Jazz: Visitors will be exposed to new information, personal appearances, unique recordings, and artifacts that will enhance an existing understanding of Jazz, or form the basis of new interests.
  • The Evolution of Jazz: Jazz was born out of a uniquely American musical melting pot, combining African cultural roots and European instruments. The NJM will illuminate the musical, racial, cultural, economic and historic factors that created, affected or were affected by the evolution of Jazz.

Jazz in Chicago

There is a clear and immediate need for an institution that takes an activist role in bringing new audiences to Jazz and foster an expanded understanding of Jazz for those with only casual awareness. The potential for ALL music listeners to discover the connections that exist with more popular forms of music and the artform of jazz is immense. The NJM will provide opportunities for discoveries of Jazz, for new audiences as well as for devoted and passionate Jazz fans.

The NJM will embark on a coordinated effort to assemble and disseminate information about Jazz, to enhance the knowledge of the art, and to bring new audiences to it.

Chicago has been home to great musicians of all eras, from pioneers like Louis Armstrong through mainstream successes like Benny Goodman to bebop masters like Johnny Griffin and avant-garde inventors like Muhal Richard Abrams.

Chicago is the logical home for the National Jazz Museum. But there is at present no central coordinating facility to articulate Chicago’s Jazz culture to the general public, nor one that builds associations and programs on the existing foundation of Chicago jazz activities.

The National Jazz Museum, therefore, seeks to:

  • Build on Chicago’s rich Jazz heritage to establish credibility as the home of the NJM. Dedicated to the world of Jazz, the NJM will spotlight Chicago’s specific contributions to the music. It will also form a hub for Chicago’s Jazz community by connecting to the diverse Jazz related associations and programs located in Chicago.
  • Exhibit Jazz as a uniquely American art form.
  • Create an immersive environment that captures the interactive, improvisational aspect of Jazz in both exhibit content and exhibit design.
  • Attract, educate, and entertain a broad audience – from novice to Music Lover to Jazz aficionado.
  • Be fresh and alive with improvisation and change.

NJM will program both permanent and temporary exhibitions. Interactive by design, exhibits will focus on the evolution of jazz with a goal of shaping the public’s understanding of jazz and its significance and historical impact in this country and around the globe. Temporary exhibitions will also explore the relationship of jazz to other art disciplines, notably dance, visual arts, and literature.

Performance:

The museum will be filled with the sounds of jazz and blues throughout the day: lunchtime performances, afternoon jam sessions, evening programs, and special events. A versatile cabaret, designed to present live jazz seven days a week, will feature legendary, established and developing musicians. Museum programming will also include community outreach to schools.

Collections:

The Museum’s collections will include diverse and one-of-a-kind artifacts and materials related to jazz’s national and international history. Collections will include musical instruments, recording equipment, films, photographs, sheet music, posters, liner notes and personal memorabilia, including travel diaries and clothing. Emphasis will be given to collecting evidence of early jazz activities circa 1900-1940 as well as more contemporary movements.

The audio-visual library will include sound recording of all formats (tape, vinyl, CD’s, etc.), documentary video and oral histories. This reference library and film/tape archives will be valuable in assisting researchers and interested jazz enthusiasts. Most of the collections will be assembled from purchases and gifts from local and national museums, individuals and jazz scholars.

National Jazz Museum and Education

Our educational programs are designed to reach as broad an audience as possible reflecting the full range of jazz in the context of being an American musical art form. Educational exhibits target school children, jazz enthusiasts, tourists, music students, educators, professional jazz musicians, and the general public.
Themes will focus on:

  • Creating the Music: The composers.
  • Making jazz: Exploring music production, tracking behind-the-scenes in music.
  • Cultural Connections: The cultural and racial influences of the jazz form.
  • Performing jazz: Including an emphasis on improvisation.

Take Five. This special permanent exhibition is an interactive learning laboratory for children ages 8-14. It enables musical exploration through a variety of instruments, musical sounds and riffs, and a computerized soundboard. Special programs for children will also be featured in this gallery, including A Child’s Introduction to Jazz, jazz movement for kids and an annual homemade instrument concert featuring instruments made and performed by children.

Other programs will include in-gallery activities such as Meet the Musician, in-school classroom visits and student concerts, teacher workshops, masterclasses for touring jazz artists, student musicians, and local jazz ensembles and much more. Programs for the general public will include gallery tours, gallery talks, lectures, demonstrations, and, of course, a regular program of jazz performance, presented in concert and cabaret formats.

The museum intends to advance research on jazz and its history and will develop key programs to achieve that end. Publications will include an annual journal of major research, a quarterly newsletter featuring popular articles on jazz including reviews of recent jazz CDs and video releases, and occasional monographs, published results of museum-sponsored symposia.

An annual symposium will invite major national and international scholars to Chicago for a celebration of jazz’s history. The symposium will be held in concert with Chicago annual jazz festival giving greater visibility to Chicago as a center for jazz. Artist residencies will support practicing artists and jazz scholars, bringing them to the museum for 2-12 week periods to compose, teach and study with local masters.

The Jazz Studio, a state-of-the-art recording and broadcasting facility, is a special feature of the museum. It will be used to document performance and lecture activities of the museum, to provide training for recording techniques and special program support like In Their Own Words: Oral History of Jazz.

Buena Vista Social Club

The story of the Buena Vista Social Club dates back 1930s and 1940s Havana, Cuba. It was a fraternal social club where local musicians could gather to play, dance, and have fun with all sorts of activities. At the time, fraternal clubs were very popular in Cuban society and there was a variety of them available to the public including clubs for cigar wrappers, athletes, doctors, business leaders, among others.

At the time, there was little money for musicians, so the musicians typically performed there mostly for the love of the music. Notable musicians that played there during the era include the prolific composer and bandleader Arsenio Rodríguez, the great bassist Cachao López, and piano player Rubén González. The club was at the forefront of the development of traditional Cuban music like the charanga, mambo, rumba, and son styles of music. It was shut down shortly after the Cuban revolution around 1959.

The resurgence of the Buena Vista Social Club would not occur until 1996. World music producer Nick Gold and American guitarist Ry Cooder were set to record an album consisting of a collaboration of two African musicians and Cuban musicians. Upon arrival, Cooder was to discover that the African musicians could not make the recording session due to visa problems. So they instead decided to record a more traditional Cuban son album with the local musicians.

Within days, they assembled a large group of musicians spanning several generations, many of who were now in their 70s, 80s, and 90s to record the album. At that time, Ibrahim Ferrer was shining shoes for cash, Rubén González suffered from arthritis and didn’t even have a piano, and many others who frequented the club had settled into a quiet life.

Notable musicians not yet mentioned that joined the project were guitarist Eliades Ochoa, bassist Orlando “Cachaito” López, trumpet player Manuel “Guajiro” Mirabal, laúd player “Barbarito” Torres, timbales player Amadito Valdés, and singers Compay Segundo, Manuel “Puntillita” Licea, Pio Leyva, and Omara Portuondo, among others.

The album was a revival of forgotten songs that the musicians enjoyed playing from back in the day. They even recorded at EGREM Studios in Havana with an atmosphere left untouched since the 1950s with original instruments and equipment. The album was finished in only 6 days, and to everyone’s surprise, became an international sensation and has sold over 8 million copies! It won a Grammy award and launched the members into stardom.

Shortly after the album, a documentary was filmed featuring footage of recording sessions, interviews with the charming musicians at various Havana locations, and film of the only two concerts that were performed by the original lineup in Amsterdam and New York City’s Carnegie Hall. The highlight of the film is seeing the reactions of the Cuban musicians, many that had never left Cuba in their entire lives, in the middle of New York City. The documentary itself went on to have tremendous success grossing over $23,000,000.

The phenomenon of the Buena Vista Social club caused a revival of Cuban music worldwide, opening up Latin American music to a new audience. It also spawned many solo spinoff albums from the various members. If you haven’t yet heard about the Buena Vista Social Club, make sure to further check out their story and music. It is the rich Cuban culture on display.

Miriam Jarquín Biography

Miriam Jarquín initiated her career as a singer in 1977 with the National Symphony Orchestra Choir of Costa Rica. She started singing jazz, pop, and rock in 1981, becoming one of the most important singers in San José, up ‘til today. In 1983, she started vocal lessons, participating in many lyrical concerts as a soloist and also in choirs.

Miriam graduated from the Musicians Institute in Hollywood, California, in 1990 and in 1991, she established the Modern Music Academy in Costa Rica (Academia de Música Moderna).

She is the winner of numerous musical festivals in her country, and participant in a variety of relevant international musical festivals throughout Latin America, representing Costa Rica: Festival de Paisajes Urbanos in Cuba on 1999, the Curaçao Jazz Festival on 2001 and the Latin Autor International Festival in Punta del Este, Uruguay, on 2003.

Continue reading Miriam Jarquín Biography

Birdland Recording Studio

Birdland Recording Studio is located in TownCreek, Alabama. Just a short drive from Muscle Shoals, Decatur, or Huntsville. Birdland was started by Owen Brown, James Murphree and Jeffrey Simpson in 1983. Birdland studio was relocated from Decatur to TownCreek in 1987.

The following recording of “Birdland” (Freddie Hubbard with the Allyn Ferguson Band) was not recorded in Birdland Recording Studio but a video absolutely unique:

The studio is a 3,000 square foot antebellum home which had its beginnings as a two-room log cabin in 1828. There are 8 acres of land to “roam if you want to”.

Birdland is equipped with a 16 track, I” Tascam analog recorder, 24 channel Tascam mixing console, a choice array of microphones (AKG, Shure) to choose from, dynamics processing and effects gear, Yamaha NS10s, and ESS large monitors for, of course, monitoring.

Continue reading Birdland Recording Studio

Rhythm Explosion Explained

Rhythm Explosion is a cooperation of an international group of performers, musicians, choreographers, students, and educators that form a creative community for studying, performing, and creating new work of performing art in Bozeman, Montana.

Check out also this 2010 video of music and tap dance by Katherine Kramer to get a good idea of what it’s all about:

Rhythm Explosion offers a highly supportive atmosphere targeted at fostering the highest possible creative exchange of culture and ideas, focused on the art of dancing to jazz music and related forms.

Students, artists, performers, and audiences are sharing their inspiration and knowledge through classes, discussions, performance workshops, informal showings, video viewings, and performances.

Continue reading Rhythm Explosion Explained

The Life of B.B. King: What we can learn

B.B. King has enjoyed one of the most distinguished and influential musical legacies in the history of recording. He is known for prolifically touring the world and has played at least 200 shows annually for over half a century so read on and learn all about this true Grand Master of the Blues.

His career is an inspiration to many musicians and people who look for second chances and B.B. King’s story is even included in the GED test, says Chris from Best GED Classes. This is the best way to honor his legacy with respect to the great things he’s done for music and his country.

His expansive catalog includes close to sixty albums and dozens of live releases. You may be able to view some of his world performances by ordering a TV package from www.cabletelevision.net and check out also this video where he plays with John Mayer (2012):

A man of humble origins, the renowned blues musician was born on September 16, 1925, within the confines of a desolate cotton plantation in the outskirts of Berclair, Mississippi.

Continue reading The Life of B.B. King: What we can learn

Keb-mo – a legend

The Texas Bedford Blues Festival took place over the Labor Day weekend a few years ago. The music portion is part of the overall Bedford Blues & BBQ Festival. One of the leading acts was Keb Mo and take a look at his 2017 video where he plays together with Taj Mahal:

On Saturday, acts included Gibson Road Band, Jimmy Lee Reeves Band, website, Cole Dillow, and Alan Fry on the second stage; with Rastus, Southside Blues Kings, Kayla Reeves & Wes Jeans, Ana Popovic, and headliner Kenny Wayne Shepherd Band on the main stage.

Sunday’s acts included Jimmy James Arnold, White Hot Soul, Sweet Jones, and Texas Cotton Kings on the second stage; with Rusty Burns & Big Wampum, Guitar Shorty, Buddy Whittingham, CJ Chenier & the Red Hot Louisiana Band, and headliner Keb Mo on the main stage.

Continue reading Keb-mo – a legend

The Music of Brazil

Brazil, the largest country in South America and the fifth largest in the world, is a land rich in history, mystique, and exceptions to the rule. Founded as a Portuguese colony in 1500 that was later known as the Empire of Brazil, it became a republic in 1889 and is now known as the Federative Republic of Brazil.

Its official language is Portuguese, which is spoken by nearly the entire population – and the only Portuguese-speaking nation in Latin America – making its natural and cultural identity very distinct from its Spanish-speaking neighbors. Brazilian Portuguese is also different from that spoken in Portugal. It is fitting that the Museum of the Portuguese Language in Brazil ‘s capital São Paulo is the first language museum in the world.

One of the founding members of the United Nations, Brazil is the world’s tenth largest economy and boasts a natural environment of unparalleled diversity and breathtaking geographic beauty, making it a great draw for international tourists seeking sun and beach and adventure forays into the Amazon Rainforest.

Continue reading The Music of Brazil

Interview with Kellylee Evans

Canadian soul and jazz music singer Kellylee Evans received a Juno in 2011 for her impressive album Nina in the category “Vocal Jazz Album of the Year.” To get a great impression of her unique qualities, check out this video of one of her 2013 concerts:

Due to a concussion, Kellylee had not performed for almost two years, but in 2017, she returned to the stage in several Canadian cities like Ottawa (at the city’s National Arts Centre), Montreal (the Upstairs Jazz Bar and Grill), Toronto (Hugh’s Room Live), and Burlington, Ontario (Burlington Performing Arts Centre). Kellylee’s latest album, Come On, came out in 2017 on October 27. Let’s take a look at an interview that I had recently with her.

Q – I have turned on a number of people to your CD “Come On”, and everyone wants to know when the next one is coming out. So, can we expect a new album from you anytime soon?

I want to say “yes”, so I’m just going to say it – “yes” :). I’m super obsessed about getting a new CD out. A lot of the material that we perform on the road is unrecorded and fans keep asking for those songs, so I have a lot of incentive to get it done.

Continue reading Interview with Kellylee Evans

Birdland – The Jazz Corner of the World

A few years way back, I overheard the sounds of the singing quartet, Manhattan Transfer, coming from the stereo in my son’s room. The group had added lyrics to Joe Zawinul’s extraordinary instrumental “Birdland,” conjuring some warm memories of the jazz club that had once been called “The Jazz Corner of the World.”

Broadway and 52nd Street in the 1950s and early sixties was a jazz oasis. On Saturday evenings, crowds could steal glances through open doors at the Metropole Cafe, across from the Colony Record Shop of greats such as Roy Eldridge or Gene Krupa playing on top of the bar.

Wednesday night was Mambomania night at the Palladium Ballroom up the street with Tito Puente and Mongo Santamaria ticking and booming their impulsive and complex rhythms on well-tuned skins, what was to become the pulse of today’s Latin Jazz, to the bustling street below.

Continue reading Birdland – The Jazz Corner of the World