Funeral services for James Jordan, the retired, former Director of Music Programs for the New York State Council on the Arts, will be held on Tuesday, December 18th at 11 a.m. EST at Benta’s Funeral Home in Harlem. Benta’s is located at 630 St. Nicholas Avenue.  Visitation begins at 10:30 a.m.

Statement from  Denardo Coleman

To all of our friends we are sad to relay the news that Ornette’s cousin and long time manager, James Jordan has passed away at the age of 87.

James and Ornette were inseparable virtually growing up as brothers in Fort Worth Texas. Both played in the Mother AME Church band as well as the IM Terrel high school band. James on tenor sax.

James played professionally in big bands for Big Joe Turner, BB King and others.

James then went on to begin a successful career working as a music educator in Columbus, Texas, and as a member of a popular jazz band in Austin. He later became a community activist in the war on poverty, and served as Executive Director of the Human Opportunities Corporation in Travis County.

In the late 1960s Ornette asked James to join him in New York as his manager. They went on to accomplish many milestones including mounting Ornette’s historic symphonic work Skies of America. The belief and support that Ornette could compose such a work was not there. With that, James managed to secure advances for 2 jazz combo recordings from Columbia Records. Unbeknownst to the company he and Ornette flew off to England where they hired the London Symphony Orchestra. There they recorded what was to be one of Ornette’s seminal albums, Skies of America, James Jordan producer.

Subsequently James Jordan’s unique qualifications came to the attention of the New York State Council on the Arts. James was asked to become the Director of the State Council’s Music Program. He would be with the Council for 29 years, retiring in 2005.

The NYS Council for the Arts serviced all of the state’s arts institutions from the Metropolitan Opera to the AACM NY Concert Series. With James as director countless small creative arts organizations knew they had a champion in the State House. Someone who truly understood how important it was to support the independent artist.

As a leading figure in Jazz related work, James was the founding secretary of the board for the creation of the National Jazz Service Organization.

He also served as Chairperson of the Policy Panel for Jazz as well as for the Grants Panel for the National Endowment for the Arts

After retirement James, rejoined Ornette as his personal manger. They went on to tour the world for the next several years. Including performances of Skies of America in Europe.

James Jordan–another one of Fort Worth’s giants.

(Photo by Enid Farber, James Jordan Accepting Jazz Journalist’s Association 2010 A Team Award)

Bobby Sanabria Multiverse Big Band“West Side Story Reimagined”
(Jazzheads JH1231)
www.jazzheads.com
Multiverse Big Band TRUMPETS Kevin Bryan – lead Shareef Clayton Max Darché Andrew Neesley SAXOPHONES David Dejesus- lead alto, soprano, flute Andrew Gould – alto, flute Peter Brainin- tenor, flute Yaacov Mayman – tenor, flute, clarinet Danny Rivera – baritone TROMBONES David Miller – lead Tim Sessions Armando Vergara Chris Washburne- bass FLUTE, PICCOLO Gabrielle Garo ELECTRIC VIOLIN Ben Sutin RHYTHM Bobby Sanabria – musical director, drums, whistle, lead vocals, coro Darwin Noguera – piano Leo Taversa – electric bass Oreste Abrantes – congas, itotele batá drum, coro Matthew Gonzalez – bongo/cencerro, primo bomba drum, Iyá bata, requinto pandereta, ganza, coro Takao Heisho – Cuban guiro macho, Dominican guira, Puerto Rican guicharro clave, okonkolo batá drum, maracas (Cuban and Venezuelan), shekere, tambourine, cuica, pandeiro, triangle, gongThere’s every reason to hope that Steven Spielberg’s remake of “West Side Story” will improve upon the 1961 film, but I doubt if we’ll ever hear a more thrilling interpretation of that immortal score  than that of the Bobby Sanabria Multiverse Big Band.Will Friedwald-Wall Street Journal Congrats on the album of the year!
Marc Myers Jazz Wax
Read Marc’s review HEREWest Side Story Reimagined is available from:

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Musical sparks fly from this group of New York’s finest musicians with a varied program of compositions that recall Gil Evans’ infamous Monday night sessions at the Greenwich Village club, Sweet Basil.

THE GIL EVANS ORCHESTRA
“HIDDEN TREASURES MONDAY NIGHTS, VOLUME ONE ”

Artist: THE GIL EVANS ORCHESTRA
Title: HIDDEN TREASURES MONDAY NIGHTS VOLUME ONE
Label: BOPPER SPOCK SUNS MUSIC GEO-34752
Release Date: DECEMBER 07, 2018
UPC Code: 860000347525Track listing and Running Time 
1. SUBWAY Pete Levin 10:56
2. LL FUNK Miles Evans 5:29
3. I SURRENDER Delmar Brown/Alex Foster 7:17
4. GROOVE FROM THE LOUVRE John Clark 9:50
5. LUNAR ECLIPSE Masabumi Kikuchi 6:28
6. MOONSTRUCK Gil Evans 1:49
7. ELEVEN Gil Evans 5:24Kenwood Dennard – Drums, Mino Cinelu – Percussion Mark Egan – bass Pete Levin– keyboards, Miles Evans – trumpet Shunzo Ohno – trumpet David Taylor – Bass Trombone, John Clark – French Horn, Chris Hunter – Alto Sax, Flute, Alex Foster – Tenor Sax, Soprano Sax Darryl Jones – Bass (Tune 2), Matthew Garrison – Bass & Bass Solo (Tune 2), Vernon Reid – Guitar (Tune 2), Paul Shaffer – Fender Rhodes (Tune 2),David Mann – Alto Sax (Tune 2), Gil Goldstein – Piano (Tunes 1, 2, 5, 6), Delmar Brown– Synthesizer (Tunes 1, 2, 5), Charles Blenzig – Synthesizer (Tunes 2, 3, 4, 7), Gabby Abularach – Guitars (Tune 1, 4, 5), Jon Faddis – Trumpet (Tunes 1, 5, 6), Dave Bargeron -Trombone (Tunes 1, 5, 6), Gary Smulyan – Baritone Sax (Tunes 1, 5, 6), Birch Johnson – Trombone (Tunes 3, 4, 7,) Alex Sipiagin – Trumpet (Tunes 3, 4, 7), Alden Banta – Baritone Sax (Tunes 3, 4, 7).Monday Nights” is not only the first studio recording of the Gil Evans Orchestra in over forty years, it’s also offers some of the most audacious and electrifying music of the new millennium. The late Gil Evans was one of the most respected orchestrators in jazz history and his fabled collaborations with Miles Davis, including “Birth of the Cool,” “Sketches of Spain” and “Porgy and Bess,” set the gold standard for modern jazz arranging. Accordingly, Evans played a key role in the development of cool jazz, modal jazz, free jazz and jazz fusion. All of these influences are strikingly present on “Monday Nights,” a particularly contemporary incarnation of Evans’ music. After a string of gigs that started in the late 70s, the Gil Evans Orchestra began a run of Monday night engagements in 1983 at the Greenwich Village club, Sweet Basil, which resulted in a number of successful live recordings by Gil Evans and the Monday Night Orchestra. The gig continued sporadically until 1994. Mr. Evans had a knack for bringing out the best in his groups comprised of first-call New York players including David Sanborn, Alan Rubin and Tom “Bones Malone,” and such musicians as George Adams, Hannibal Marvin Peterson and Howard Johnson. Gil’s sons, trumpeter Miles Evans and his brother Noah are keeping the flame alive with “Hidden Treasures,” a trilogy of recordings of which “Monday Nights” is the first. The concept here, is to feature compositions that the Orchestra played live in the late 70s and early 80s. Forthcoming are “The Classics,” featuring modern renderings of Evans’ original arrangements, including “My Ship,” and “The Meaning of the Blues,” and, the final release in the series, “Gil & Anita,” named for the late jazz icon and his wife. “Subway,” written and arranged by keyboardist Pete Levin opens the album and introduces the imperial command of the ensemble, anchored by drummer Kenwood Dennard. With dynamic twists and turns, and subtle musical shadings, this is one hell of a subway ride. Commanding solos by trombonist Dave Bargeron and tenor saxist Alex Foster, offering some respect for Wayne Shorter, add to the excitement. Trumpeter Miles Evans wrote and arranged “LL Funk” and once again Kenwood Dennard drives the music with a powerful funk beat good for both listening and dancing. With Darryl Jones on bass, special guests’ solos abound: keyboardist Paul Shaffer, even more laid back than usual; the criminally underrated Matthew Garrison and his highly original bass: and Vernon Reid bringing a thick almost heavy metal guitar tip to the track. The icing on the cake is David Mann, who weaves his bluesy, potent alto sax throughout the track. “I Surrender,” written by Delmar Brown and Alex Foster, and arranged by Alex and Charles Blenzig is a musical requiem for a heavyweight. Mr. Brown, a superb keyboardist who played with the Gil Evans Orchestra as well as Pat Martino, passed away in 2017 and “I Surrender” is his tribute. He is also present on several tracks recorded before his passing. A true musical heavyweight, Alex Foster offers another side of his soulful, highly expressive tenor. A very popular composition from the Sweet Basil days, “Groove from the Louvre,” written and arranged by John Clark, features the composer on french horn, trumpeters Shunzo Ohno and then Alex Sipiagin, percussionist Mino Cinelu, who came to prominence with Miles Davis and Weather Report, bass trombonist Dave Taylor. Deft and determined, drummer Dennard anchors the band through the gentle opening, and then the hard edged groove that follows. There’s a regal, totally swinging feel to the track, with superb ensemble work that shows this is more than just a group of soloists, but a real orchestra. “Lunar Eclipse” written by Masabumi Kiuchi and arranged by the master himself, Gil Evans, is evocative and cinematic. An Evans protégé, Gil Goldstein solos here, memorably, amidst a dreamy synthesizer background which follows him through his two solos on the track, the first of which gives away to Mino Cinelu on bongos and then drummer Dennard, raising the musical stakes once again. It’s a heady musical mixture. More of the master on “Moonstruck,” which is short, whimsical and very tasty. Tracking at 1:49, it’s an ensemble feature that’s both intriguing and attention grabbing. The recording closes with “Eleven,” also straight from the source, a Gil Evans composition and arrangement, which originally appeared as “Petits Machins (Little Stuff)on the 1968 Miles Davis recording, Filles de Kilimanjaro. The set closer is a bristling swinger, a fitting capper to this powerful set of absolutely stunning music. The groove is infectious, a potent platform for solos by alto saxophonist Chris Hunter, Charles Blenzig on electric piano and Alex Foster, who returns on tenor and continues to amaze. Gil Evans Lives!Monday Nights is available for purchase on Pledge Music. http://goo.gl/4rs6kG

NATIONAL PRESS CAMPAIGN: 
JIM EIGO, JAZZ PROMO SERVICES,
272 State Route 94 South #1, Warwick, NY 10990-3363
Ph: 845-986-1677 jim@jazzpromoservices.com • www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

FRANKFURT RADIO BIG BAND (HR-BIGBAND) JIM McNEELY conductor, HEINZ-DIETER SAUERBORN soprano and alto saxophones,  flute, alto and bass  flutes, clarinet, OLIVER LEICHT soprano and alto saxophones,  flute, alto  flute, B  flat and alto clarinets, TONY LAKATOS tenor saxophone,  flute, alto  flute, STEFFEN WEBER tenor saxophone, flute, bass  flute, clarinet, RAINER HEUTE baritone saxophone, bass clarinet, alto  flute, FRANK WELLERT trumpet,  flügelhorn THOMAS VOGEL trumpet,  flügelhorn, MARTIN AUER trumpet,  flügelhorn, AXEL SCHLOSSER trumpet,  flügelhorn, GÜNTER BOLLMANN trombone, PETER FEIL trombone, CHRISTIAN JAKSØ trombone, euphonium, valve trombone, MANFRED HONETSCHLÄGER bass trombone, PETER REITER piano, MARTIN SCALES guitar, THOMAS HEIDEPRIEM bass, JEAN PAUL HÖCHSTÄDTER drums

www.planetarts.org

www.jim-mcneely.com

www.hr-bigband.de

Media Contact
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Musical sparks fly from this group of New York’s finest musicians with a varied program of compositions that recall Gil Evans’ infamous Monday night sessions at the Greenwich Village club, Sweet Basil.

THE GIL EVANS ORCHESTRA
“HIDDEN TREASURES MONDAY NIGHTS, VOLUME ONE ”

Artist: THE GIL EVANS ORCHESTRA
Title: HIDDEN TREASURES MONDAY NIGHTS VOLUME ONE
Label: BOPPER SPOCK SUNS MUSIC GEO-34752
Release Date: DECEMBER 07, 2018
UPC Code: 860000347525Track listing and Running Time 
1. SUBWAY Pete Levin 10:56
2. LL FUNK Miles Evans 5:29
3. I SURRENDER Delmar Brown/Alex Foster 7:17
4. GROOVE FROM THE LOUVRE John Clark 9:50
5. LUNAR ECLIPSE Masabumi Kikuchi 6:28
6. MOONSTRUCK Gil Evans 1:49
7. ELEVEN Gil Evans 5:24Kenwood Dennard – Drums, Mino Cinelu – Percussion Mark Egan – bass Pete Levin– keyboards, Miles Evans – trumpet Shunzo Ohno – trumpet David Taylor – Bass Trombone, John Clark – French Horn, Chris Hunter – Alto Sax, Flute, Alex Foster – Tenor Sax, Soprano Sax Darryl Jones – Bass (Tune 2), Matthew Garrison – Bass & Bass Solo (Tune 2), Vernon Reid – Guitar (Tune 2), Paul Shaffer – Fender Rhodes (Tune 2),David Mann – Alto Sax (Tune 2), Gil Goldstein – Piano (Tunes 1, 2, 5, 6), Delmar Brown– Synthesizer (Tunes 1, 2, 5), Charles Blenzig – Synthesizer (Tunes 2, 3, 4, 7), Gabby Abularach – Guitars (Tune 1, 4, 5), Jon Faddis – Trumpet (Tunes 1, 5, 6), Dave Bargeron -Trombone (Tunes 1, 5, 6), Gary Smulyan – Baritone Sax (Tunes 1, 5, 6), Birch Johnson – Trombone (Tunes 3, 4, 7,) Alex Sipiagin – Trumpet (Tunes 3, 4, 7), Alden Banta – Baritone Sax (Tunes 3, 4, 7).Monday Nights” is not only the first studio recording of the Gil Evans Orchestra in over forty years, it’s also offers some of the most audacious and electrifying music of the new millennium. The late Gil Evans was one of the most respected orchestrators in jazz history and his fabled collaborations with Miles Davis, including “Birth of the Cool,” “Sketches of Spain” and “Porgy and Bess,” set the gold standard for modern jazz arranging. Accordingly, Evans played a key role in the development of cool jazz, modal jazz, free jazz and jazz fusion. All of these influences are strikingly present on “Monday Nights,” a particularly contemporary incarnation of Evans’ music. After a string of gigs that started in the late 70s, the Gil Evans Orchestra began a run of Monday night engagements in 1983 at the Greenwich Village club, Sweet Basil, which resulted in a number of successful live recordings by Gil Evans and the Monday Night Orchestra. The gig continued sporadically until 1994. Mr. Evans had a knack for bringing out the best in his groups comprised of first-call New York players including David Sanborn, Alan Rubin and Tom “Bones Malone,” and such musicians as George Adams, Hannibal Marvin Peterson and Howard Johnson. Gil’s sons, trumpeter Miles Evans and his brother Noah are keeping the flame alive with “Hidden Treasures,” a trilogy of recordings of which “Monday Nights” is the first. The concept here, is to feature compositions that the Orchestra played live in the late 70s and early 80s. Forthcoming are “The Classics,” featuring modern renderings of Evans’ original arrangements, including “My Ship,” and “The Meaning of the Blues,” and, the final release in the series, “Gil & Anita,” named for the late jazz icon and his wife. “Subway,” written and arranged by keyboardist Pete Levin opens the album and introduces the imperial command of the ensemble, anchored by drummer Kenwood Dennard. With dynamic twists and turns, and subtle musical shadings, this is one hell of a subway ride. Commanding solos by trombonist Dave Bargeron and tenor saxist Alex Foster, offering some respect for Wayne Shorter, add to the excitement. Trumpeter Miles Evans wrote and arranged “LL Funk” and once again Kenwood Dennard drives the music with a powerful funk beat good for both listening and dancing. With Darryl Jones on bass, special guests’ solos abound: keyboardist Paul Shaffer, even more laid back than usual; the criminally underrated Matthew Garrison and his highly original bass: and Vernon Reid bringing a thick almost heavy metal guitar tip to the track. The icing on the cake is David Mann, who weaves his bluesy, potent alto sax throughout the track. “I Surrender,” written by Delmar Brown and Alex Foster, and arranged by Alex and Charles Blenzig is a musical requiem for a heavyweight. Mr. Brown, a superb keyboardist who played with the Gil Evans Orchestra as well as Pat Martino, passed away in 2017 and “I Surrender” is his tribute. He is also present on several tracks recorded before his passing. A true musical heavyweight, Alex Foster offers another side of his soulful, highly expressive tenor. A very popular composition from the Sweet Basil days, “Groove from the Louvre,” written and arranged by John Clark, features the composer on french horn, trumpeters Shunzo Ohno and then Alex Sipiagin, percussionist Mino Cinelu, who came to prominence with Miles Davis and Weather Report, bass trombonist Dave Taylor. Deft and determined, drummer Dennard anchors the band through the gentle opening, and then the hard edged groove that follows. There’s a regal, totally swinging feel to the track, with superb ensemble work that shows this is more than just a group of soloists, but a real orchestra. “Lunar Eclipse” written by Masabumi Kiuchi and arranged by the master himself, Gil Evans, is evocative and cinematic. An Evans protégé, Gil Goldstein solos here, memorably, amidst a dreamy synthesizer background which follows him through his two solos on the track, the first of which gives away to Mino Cinelu on bongos and then drummer Dennard, raising the musical stakes once again. It’s a heady musical mixture. More of the master on “Moonstruck,” which is short, whimsical and very tasty. Tracking at 1:49, it’s an ensemble feature that’s both intriguing and attention grabbing. The recording closes with “Eleven,” also straight from the source, a Gil Evans composition and arrangement, which originally appeared as “Petits Machins (Little Stuff)on the 1968 Miles Davis recording, Filles de Kilimanjaro. The set closer is a bristling swinger, a fitting capper to this powerful set of absolutely stunning music. The groove is infectious, a potent platform for solos by alto saxophonist Chris Hunter, Charles Blenzig on electric piano and Alex Foster, who returns on tenor and continues to amaze. Gil Evans Lives!Monday Nights is available for purchase on Pledge Music. http://goo.gl/4rs6kG

NATIONAL PRESS CAMPAIGN: 
JIM EIGO, JAZZ PROMO SERVICES,
272 State Route 94 South #1, Warwick, NY 10990-3363
Ph: 845-986-1677 jim@jazzpromoservices.com • www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

The Artists Collective founded in 1970 by the late world renowned alto  saxophonist, composer, educator and community activist Jackie McLean as an interdisciplinary arts and cultural institution serving the Greater Hartford area is in danger of closing its doors.

It is the only multi-arts and cultural organization of its kind in Connecticut emphasizing the cultural and artistic contributions of the African Diaspora with emphasis on music and jazz education.

Dwindling corporate and private donations have forced the nearly 50 year old,storied institution to appeal to the public for financial support for the first time since its founding.

The Artists Collective has touched the lives of thousands of Greater Hartford/Connecticut youth and their families by exposing students and the community at large to the great and too often overlooked artists of the past and present, with professional concerts that have featured the great innovators such as: Dizzy Gillespie, Art Blakey and many others. Many of today’s emerging jazz musicians had their first exposure, and earliest training through the Artists Collective, most notably Cindy Blackman and Jimmy Greene to name a few.

The Collective continues to offer the highest quality training in the performing arts-dance, theatre, music and visual arts.

“From subtle to sexy to swinging, Chris Pasin and friends shine a brilliant light on the best yuletide favorites.”

“Baby It’s Cold Outside… is a shiny silver Christmas ornament, and a fine jazz album too. Dalton and Pasin make the title track into a dialogue rather than a song, like a snowbound Nichols and May.”

Michael Eck, Chronogram 

Available From: Amazon • iTunes • CDBaby

www.chrispasin.com 

What the press is saying about Diane Moser’s Birdsongs”

Troy Dostert All About Jazz (USA)
“…..a superlative, brilliantly- conceived recording.”

Brian Zimmerman featured “Song of the Day” JAZZIZ Magazine
The album…creates lush landscapes through delicate brushstrokes and subtle lines, providing ample space for these artists — and the listener — to reflect on the present moment. You’ll feel as though you’ve been transported to your favorite outdoor spot.”

Kev Rowland Gonzo Weekly
“ Inspiring and inspired, this is a wonderful album for all jazz lovers, as well as those who want to hear music which is both beautiful and transcendent.”

Jerome Wilson All About Jazz (UK)
“This CD shows how the sounds of nature can inspire improvisation and be shaped into music of remarkable beauty. It is highly recommended.”

Marc Phillips The Vinyl Anachronist
“The more you listen to Birdsongs, the more exotic and original it becomes, which is why it’s such a special album.”

Kira Gruenberg Downbeat
“Intertwining musical structures with nature’s capricious beauty, Birdsongs provides a vivid oasis for those willing to let imagination lead.”

Fernando Bonete Vizcaino El Debate de Hoy
“A brilliant work, endowed with a superb inventiveness and imagination.”

Dick Metcalf Contemporary Fusion Reviews
“This is some of the most beautiful jazz you’ll ever hear…”

Vittorio Music Zoom
“A chamber jazz album that deserves a repeated listening.”

Leonid Auskern, Jazz Quad,
“Diane and her colleagues play chamber music, very refined, beautiful and inspired by the breath of wildlife. This, of course, is jazz, and high-end jazz.

Lynn René Bayley The Art Music Lounge
“This music is as great as anything I’ve heard accomplished by modern classical composers, and in those moments when Moser’s playing becomes more forward and more rhythmic, it simply acts as another variant in the ongoing musical discourse.”

Robert Bush New York City Jazz Record
“Each musician employs extended techniques on “Dancing With the Sparrows” to evoke the sound of its namesake and when Moser’s magisterial theme emerges, one can almost feel like a member of the conversation.”

Fiona Mactaggart for doobeedoobeedoo
“Birds have inspired many and disparate composers from Messiaen to Hidden Orchestra, and Moser’s Birdsong is a worthwhile addition to the list.This is thoughtfully curated, beautiful music.”

Dee Dee McNeil Musicalmemoirs
“This is a stunningly original package of music that celebrates birds in a very jazzy way.
This is a very beautiful production of original music by Diane Moser, capably interpreted by her stellar piano skills and the two talented musicians who accompany her on bass, flute and piccolo.”

Bruce Gallanter Downtown Music Gallery
“I felt as if I had been walking in the woods and communicating with the birds. Bravo to the immense amount of work that went into this monumental effort.”

Diane Moser “Birdsongs”  (Planet Arts 30174) Street Date: March 1, 2018
Diane Moser-piano, Anton Denner-flute & piccolo, Ken Filiano-bass
http://dianemosermusic.comMedia Contact
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
http://www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Previous Release
Markus Stockhausen
Far into the StarsFar into the Stars
winner of the german Echo Jazz prize 2018Musicians:
Markus Stockhausen, tp,flh
Jörg Brinkmann, cello
Angelo Comisso, piano
Christian Thomé, drums

Info and contact:

www.markusstockhausen.com

Jazz is one of the major forms of musical expression. In the 1970s, jazz was moving away from strict acoustic instruments and was adding electric instruments— turning its style toward rock music. Warren Benbow, who has been playing drums since he was young, details the changes jazz music underwent in his artistic memoir, “A Drummers Story” @ https://store.bookbaby.com/book/A-Drummers-Story1
After attending the High School of Performing Arts in New York City, Warren Benbow started exploring the world of jazz. In his book, he looks back on the influences that emerged since the ’70s. He also recalls his performances and encounters with noteworthy musicians like Whitney Houston, Nina Simone, Betty Carter, Miles Davis, Stevie Wonder, Ornette Coleman, and James “Blood” Ulmer. Aside from music, his memoir also mentions the shifts in racial integration and political dynamics in 1960s and 1970s America.

I’ve been fortunate to have performed or recorded with artists such as Whitney Houston, Nina Simone, LL Cool J, Betty Carter, Michael Urbaniak with Ursula Dudziak, Nancy Wilson, Mavis Staples, Teruo Nakamura and Super Friends, Mary J. Blige, Brian McKnight, James “Blood” Ulmer’s Odyssey Band and many others.

 

I went to the High School of Performing Arts (FAME) and the Mannes College of Music here in NYC. At the same time I also attended the Jazzmobile, here in NY as well, where many of the music instructors were members of Dizzy Gillespie’s big band. Meeting these people is how I began to get jazz gigs and work in New York.

While in high school I had a band with my classmates and we were playing the music of the Rascals and Vanilla Fudge. We were loud. At the same time I was playing jazz with singer Betty Carter that was much softer music, with light sticks and brushes. At first it was not easy to make the transition between playing loud with my band or soft with the jazz vocalist, but eventually I found a way.
I started out as a kid drummer, and although I’m not that kid drummer anymore, every time I get behind the kit I still feel like I am. I enjoy performing and I plan to keep on performing. Once a drummer, always a drummer!
I work in recording studios here in town, but I enjoy performing live around the world even more, though at times it can be quite hectic. In fact, I just got back from doing a couple of club dates in Europe with James “Blood” Ulmer. One show was in Vienna, and one in Munich. I flew to Vienna, arrived at the hotel in the morning, had an evening sound check and performance, and then did the same deal the day after in Munich. Performances were great, but not much time to sleep. The life of a musician…Ha!

I recently wrote a book about my drumming life in the
changing music scene in the ’70s and ’80s. It’s called,”A Drummers Story”.
For more info on “A Drummer’s Story, and the best place to order the paperback or Ebook please visit:
https://store.bookbaby.com/book/A-Drummers-Story1

You can watch and hear a short video/interview of me here:

And my drum solo in Warsaw, Poland at the Jazz Jamboree: 

Book Endorsements:
Rob Wallis-
Hudson Music – Pres.
Drum Guru App – Founder 
“A Drummer’s Story is a walk through Bed Stuy., and Brooklyn in the 60’s and 70’s, and on to the High School of Performing Arts in NYC. Through his gigs with Whitney Houston, Nina Simone, Betty Carter, James ‘Blood’ Ulmer and many more, Warren covers the NYC music scene from The Apollo, The Fillmore East and Hendrix’s Electric Ladyland Studios with Stevie Wonderand everything in between.

Warren has touched on a huge variety of the music from the 70’s, 80’s and 90’s – from the civil rights movement, the assassinations of JFK, Robert Kennedy and Martin Luther King into John Lennon, the summer of love and Jimi Hendrixplaying the Star Spangled banner at Woodstock. A lover of music from James Brownand Aretha to Sly Stoneand Miles Davis, The Beatlesand Ringo to drummers Tony Williams and John Bonham. Warren covers his life thru the streets and thru the music….”

Lenny White–
An American jazz fusion drummer icon, best known for being the drummer of Chick Corea and Return Forever. ‪ White has been described as “one of the founding fathers of jazz fusion”…

” Warren Benbow’s words give you a literary landscape of the most influential musical periods of the style of Jazz in the last century. He’s lived in it and continues to live an eventful life”.

Warren Smith-
Jazz, and classical percussionist, and educator.
“I was privileged to read Warren Benbow’s book. I have known Warren, it seems, for most of his professional career. His narrative is quite interesting, especially to another musician, as well as a fellow percussionist. Seeing similar or shared experiences thru the eyes of another musician is always an interesting adventure. Warren’s story is reminiscent of my own early years in New York City.

This book chronicles the constant evolution of the music world thru the last few decades. Warren tells of the influence of technology upon the music, as well as the ever-changing styles and developments of the innovators, musicians and composers who most influenced the direction of African-American Music during the 20th and early 21st centuries. His breadth of experiences, and the way he uses them to navigate a successful career, is a must read for young musicians.

I am sure that anyone who starts this book will find it hard to put down, from cover to cover. Great job Warren. We need more active musicians to tell this story from the inside…”

You can also check out Warren Benbow’s music CD’s at:
https://warrenbenbow.bandcamp.com/album/warren-benbows-harmolodic-adventure-2 and:
https://www.reverbnation.com/warrenbenbowtimecodeproject.
For inquiries and booking, send an email to wlbenbow@gmail.com.

 www.pabloziegler.com 

REGISTER BEFORE RATES INCREASE NOVEMBER 1ST

TERRI LYNE CARRINGTON | VIJAY IYER | JENNIFER LEITHAM | RENÉ MARIE | MYRA MELFORD | TED NASH | ARTURO O’FARRILL | NICHOLAS PAYTON | KENNY RAMPTON | RODNEY WHITAKER

Camille Bertault | Bryan Carter | Riley Mulherkar | Chloe Rowland
| Nate Smith | Alexa Tarantino

Joining those already announced:

GEORGE WEIN | TOSHIKO AKIYOSHI | SHERRIE MARICLE | WYNTON MARSALIS | CHRISTIAN MCBRIDE | MARIA SCHNEIDER

Session highlights

• Jazz, Swing, Race and Culture
• Making Space in Jazz for Transgender Voices
• Celebrating Randy Weston
• Case Studies: Entrepreneurship in Jazz
• Creating Safe(r) Spaces in the Performing Arts: A We Have Voice Collective Roundtable Discussion
• The $1,000 Marketing Plan Challenge
• Will This Press Kit Get Me Booked?
• Case Studies: Record Marketing
• Institutions in Transition: Newport Jazz Festival
• Strategic Partnership in Practice: Jazz Night in America
• Women Big Band Leaders Roundtable: Presented by The National Endowment for the Arts
• Jazz in Troubled Times
• Copyright and Licensing: Rules of the Road

Register Now!

Additional Panels Include:

• Jazz Between the Coasts
• What’s that Sound? An Audio Recording Masterclass
• Making Engaging Videos
• Your Five Digital Priorities: A Marketing Masterclass
• The Importance of Artist Credits in the Digital Age
• Boricua Jazz: Lost in Translation
• Jazz Down Under: Spotlight on Australia
• Ask the Experts
• Presenting Jazz on the West Coast
• Growing Your Fanbase Through Social
• JukeBox Jury Presented by JazzWeek
• Louis Armstrong: A Music and Civil Rights Pioneer
• Jazz Education Online
• Jazz Industry 101
• Musical Inspiration is Everywhere

Visit JazzCongress.org for more details.

REGISTRATION RATES INCREASE THIS THURSDAY, NOVEMBER 1ST!

Learn More
Single day registrations and student discounts available.
Don’t miss out on the jazz gathering of the year.
Co-presented by JazzTimes and Jazz at Lincoln Center, Jazz Congress is the gathering for the jazz community and industry.

The Details

The second annual Jazz Congress will take place on January 7 & 8, 2019 at Frederick P. Rose Hall, home of Jazz at Lincoln Center, located at Broadway at 60th Street, New York, New York. Want to let others know you’re coming? RSVP to our Facebook event and like our Facebook page to stay up-to-date as we announce special guests and panels!

Registration Rates and Dates:

Priority Registration:
September 21 – October 31, 2018
Two Day Pass: $175
Single Day Pass: $125

Regular Registration:
November 1 – December 31, 2018
Two Day Pass: $200
Single Day Pass: $150

Week-of Registration:
January 1 – 8, 2019Two Day Pass: $250
Single Day Pass: $200

Student Tickets:
Students receive a 50% discount on registration. Email us with a copy of your valid student IDand provide your expected graduation date to receive access to this discount.

Partner Discounts: 
A full list of partners is available on our website. Partners offer their constituents a 15% off discount code.

Hotel Info:

Special accommodation rates for 2019 Jazz Congress attendees, starting at $100, are available at the Hudson Hotel New York, located a two-minute walk from the conference venue, at 358 W. 58th Street, between 8th and 9th Avenues. The special rates are applicable for January 3 – 10, 2019 and must be booked by December 15, 2018.
Reservations can be made by calling (702) 577-2830 or toll-free (800) 606-6090. Attendees should request Hudson Hotel New York reservations for the group name “Jazz Congress.” The group code is JA0319. Click here to make a reservation online.

About Jazz Congress:
Jazz Congress brings together members of the global jazz community to network, as well as grow the audience for the music. The annual gathering also seeks to nurture businesses and organizations that promote, produce, present, market, and support jazz.
The inaugural Jazz Congress, co-produced by Jazz at Lincoln Center and JazzTimes, was held in 2018 and drew more than 800 attendees from around the world. More than 150 performers, panelists, and speakers participated in performances, workshops, and 30 panel discussions on topics including Jazz and Race, Gender and Jazz, Learning from Large Jazz Organizations, Why Performance Matters: Stagecraft Masterclass, Jazz in Film and TV Soundtracks, and more. The 2018 keynote address was delivered by NBA All-Star Kareem Abdul-Jabbar, and The Bruce Lundvall Award was presented to Terri Lyne Carrington.

Jazz Congress Advisory Board: 
Gene Dobbs Bradford, Jazz St. Louis
Terri Lyne Carrington, musician, educator, and 2018 Lundvall Award Winner
Tim Jackson, Monterey Jazz Festival
Karen Kennedy, 24 Seven Artist Development
Don Lucoff, DL Media
Katie Simon, Jazz Night in America/WBGO
Denny Stilwell, Mack Avenue Records
Rodney Whitaker, musician & educator
Jazz Congress is sponsored by Adam R. Rose.
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Chris Spector, MidWest Record Review

Judi Silvano’s “Lessons Learned” has moved my thoughts and memories in countless directions, her words awakening so much of a life lived.  After careful listening to her thought-provoking lyrics, all I can say is the album has now become a permanent fixture on my iPhone playlist.
Eric Alan, alljazzradio/co.za/blogs-and-reviews, So.Africa

There comes a point in anyone’s life that is a place of reflection; a review of a lifetime’s worth of choices and decisions. At that point, songs emerge, and Judi Silvano’s “Lessons Learned” (Unit Records UTR4868) is a mature musical compilation of personal observations on life and love.

“Lessons Learned” was produced by Grammy winning saxophonist and composer Joe Lovano, who says “This is one of the most inspired and fun recording sessions I’ve ever been a part of; it’s full of beautiful, joyous music!”  His feelings are well reflected in his adventurous arrangements of these songs, from tender and spiritual to raucous and whimsical. That gamut is also a function of Judi’s songwriting. She’s not afraid to bare her heart and sing of intimacy, and she tackles the realities of aging with hilarious candor.

The musicians on the recording are members of Silvano’s Zephyr Band, an ensemble with an unusual lineup for a jazz singer: two electric guitars.  These are wielded by Kenny Wessel and Bruce Arnold, providing orchestral settings for the songs. The band is rounded out with Ratzo B. Harris on bass, Adam Kolker on bass clarinet, soprano and tenor sax, Bob Meyer on drums and Todd Isler on percussion. Joe Lovano lends his signature sound on tenor sax to two tracks.

They continue to find new directions for Silvano’s compositions and stories.