Rescheduled: Desert Island Discs w/ David Murray

January 29, 2019 7:00pm

Now 63, tenor saxophonist-bass clarinetist-composer David Murray, perhaps the most recorded improviser of his generation, has elicited strong responses throughout his 45-year career. Most recently, he’s been touring behind the album Blues For Memo, a collaboration between his quartet (Orrin Evans, piano; Jaribu Shahid, bass; and Nasheet Waits-drums) and poet-vocalist Saul Williams. It’s the most recent in a string of releases that includes a collaborative project with Cassandra Wilson and Ishmael Reed; a fully staged opera dedicated to the iconic Afro-Russian poet Alexander Pushkin; another opera about Harlem numbers king Bumpy Johnson with a libretto by the late Amiri Baraka; big band and string music for Cuban ensembles; and for bands comprised of musicians from Guadeloupe (Creole), Yonn-de, and Gwotet), Senegal (Fo Deuk Revue), and the Black American Church (Speaking in Tongues).

A native of California’s Bay Area, Murray moved to New York in 1975, after a few years at the University of California-Claremont, where he studied and performed with Stanley Crouch, as well as the likes of Arthur Blythe, Bobby Bradford, John Carter, James Newton, and Butch Morris. He moved to New York in 1975, and quickly established himself as one of the jazz capital’s busiest musicians, establishing a worldwide fan bass through the lyric swagger and raw edge of his tonal personality. He moved to Paris in 1995, but took an apartment in Harlem several years ago.

Conversant with tenor saxophone vocabulary spanning Paul Gonsalves and Coleman Hawkins to Albert Ayler, as well as a comprehensive array of Afro-diasporic dialects, he’s the ideal Desert Island Disk presenter.

ABOUT DESERT ISLAND DISCS:
In the fall of 2015, the National Jazz Museum in Harlem debuted its version of Desert Island Discs. It’s modeled on an iconic BBC radio show, extant since 1942, which invites eminences from various walks of life to choose—and discuss—the eight records they would bring for a stay on the apocryphal desert island. For the Jazz Museum’s expanded version curated and hosted by esteemed journalist Ted Panken, the presenters are jazz musicians, who will present a cohort of music, of any genre, that was essential in the formation and evolution of their musical personality.

Tickets: RSVP

More Info: 

Location
The National Jazz Museum in Harlem
58 West 129th Street
New York NY 10027 US

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Duke’s Keys Vol. 3: Helen Sung

Jazz For Curious Listeners

December 18, 2018 8:00pm – 10:00pm

When the National Jazz Museum in Harlem received a white 1917 Kramer baby grand piano that belonged to Duke Ellington, it came along with the request that it be played. In our third Duke’s Keys performance, the dynamic pianist and composer Helen Sung will share her musical offerings.

ABOUT THE ARTIST:
Pianist/composer Helen Sung hails from Houston, TX, where she attended the High School for the Performing & Visual Arts. An aspiring classical pianist before jazz intervened during undergraduate studies at the University of Texas at Austin, Sung went on to graduate from the Thelonious Monk Institute of Jazz Performance (at the New England Conservatory) and win the Kennedy Center’s Mary Lou Williams Jazz Piano Competition. Now based in New York City, Sung has worked with a “Who’s Who” in Jazz, including the late Clark Terry, Ron Carter, Wayne Shorter, Wynton Marsalis, and MacArthur Fellow Regina Carter.

With five albums as leader, Sung’s sixth release Anthem For A New Day (Concord Jazz) topped jazz radio charts and garnered a SESAC Performance Activity Award. With appearances at major festivals/venues including Newport, Monterey, Detroit, SFJAZZ, and Carnegie Hall, Sung is also stepping onto the international stage: her “NuGenerations” Project toured southern Africa as a US State Department Jazz Ambassador and other engagements include a European CD Release Tour for Anthem, the London Jazz Festival, Taichung International Jazz Festival (Taiwan), and Morelia Music Festival (Mexico). Sung also currently performs with fine ensembles such as the Mingus Big Band, T.S.Monk Band, and Terri Lyne Carrington’s Mosaic Project (she performed on Carrington’s Grammy-winning album Mosaic Project).

Sung is an active composer and has received several commissions and grants, including a 2014 Chamber Music America/Doris Duke Foundation New Jazz Works Grant. Inspired by her experience at the Monk Institute, Sung stays involved in music education through residencies/workshops, and joined the jazz faculties at the Juilliard School and Columbia University in 2015.

Tickets: $15

More Info:

Location
The National Jazz Museum in Harlem
58 West 129th Street
New York NY 10027 US

The Lowdown: Conversations with Christian feat. Valerie Simpson

Jazz For Curious ListenersThe Lowdown: Conversations with Christian

December 6, 2018 7:00pm – 9:00pm

Valerie Simpson, one half of the beloved and legendary songwriter/producers and performers Ashford & Simpson, will join Jazz Museum Co-Artistic Director Christian McBride for a live taping of his SiriusXM radio show The Lowdown: Conversations with Christian.

The evening will feature a mix of duo performance, conversation, and a healthy dose of McBride humor.

Tickets: $20

More Info:

Location Details
The National Jazz Museum in Harlem
58 West 129th Street
New York NY 10027 US

“Great Day in Harlem” @ 60 w/ Benny Golson and Jonathan Kane

December 4, 2018 7:00pm – 9:00pm

In celebration of the 60th anniversary of the famous Art Kane photograph “Great Day in Harlem”, the National Jazz Museum in Harlem will host Kane’s son, Jonathan Kane, and one of the last living musicians from the photo, NEA Jazz Master Benny Golson, for a night of conversation and celebration of the new book Art Kane: Harlem 1958 released in November.

Art Kane: Harlem 1958 is a visual history of an iconic image including, for the first time, virtually every single frame from the historic shoot. With original text by Art Kane, forewords by Quincy Jones, the legendary Benny Golson, who appears in the photo, and an introduction by Kane’s son, musician and photographer Jonathan Kane, the 168-page hardback volume is the story behind the shot.

In 1958 fledgling photographer Art Kane pitched the idea to Esquire – invite the musicians of New York’s jazz community to come together for one photo. Esquire agreed and Kane sent requests via agents, record labels, managers, clubs, anywhere he could spread the word.

“There was going to be an unusual shooting of a photograph for Esquire Magazine and I was being invited to be a part of it. I couldn’t believe it! Nobody really knew me that early in my career. But zippo, I was there on the intended date. When I arrived, there were all of my heroes.” Benny Golson

57 jazz musicians, from the unknown to the world famous, duly assembled at the unlikely hour of 10am at 7 East 126th Street, between Fifth and Madison Avenues. The group would include Dizzy Gillespie, Art Blakey, Thelonius Monk, Coleman Hawkins, Lester Young, Charles Mingus, Gerry Mulligan, Count Basie – whose hat was repeatedly stolen by local kids until Kane surrendered and put them in the shot, too.

“Black and white: two colors forbidden to be in close proximity, yet captured so beautifully within a single black and white frame. The importance of this photo transcends time and location, leaving it to become not only a symbolic piece of art, but a piece of history. During a time in which segregation was very much still a part of our everyday lives, and in a world that often pointed out our differences instead of celebrating our similarities, there was something so special and pure about gathering 57 individuals together, in the name of jazz.” Quincy Jones

Tickets: Free

More Info:

Location
The National Jazz Museum in Harlem
58 West 129th Street
New York NY 10027 US