The starting point for this lively patterned abstraction was an earlier canvas by Stuart Davis entitled House and Street, 1931. Treating each subsequent version as a riff on a jazz theme, Davis moved further and further away from his original composition to establish independent, rhythmic color patterns that retained only a few direct visual cues to the original composition. Davis theorized that abstract compositions could communicate to the viewer something of the subject from which they were derived. This composition embodies the “mellow pad”—jazz lingo for the “cool” place to be. Jazz rhythms were a potent inspiration for Davis, and their presence added a distinctly American component to his abstractions. - Dominic Carter.
American painter Stuart Davis (1892 - 1964) was a jazz lover who was deeply impressed by Cubism, collage, and other techniques of the European avant-garde. But he didn’t want to paint like a European. He wanted his work to be about America - improvisation - fresh melodies over the continuoulsy repeating cycle of chord changes of a tune. The Mellow Pad intentionaly weaves the high cultural tone of formal abstract painting with American popular culture.
The Brooklyn Museum of Art states in the description of the work:
Mellow and pad were hipster words of the era. Thus, The Mellow Pad, a strickingly bold painting creates chaos and plays with paint the way jazz musicians play with sound. Colorful shapes vibrate and move on the canvas as if it’s a crowded dance floor, and all this jazzy energy is contained by a light blue border—which, you’ll notice, is broken here and there, as if the party might just spill into the next room.
“You’ve got to find some way of saying it without saying it.” - Duke Ellington
Mellow Pad by Stuart Davis, oil on canvas is on display at the Brooklyn Museum of Art
Kronos Quartet
Nonesuch Records recently announced that the Kronos Quartet has been named the recipient of two internationally renowned awards: in the United States, the prestigious Avery Fisher Prize, awarded for outstanding achievement and excellence in music, and in Sweden, the Polar Music Prize, an international music prize awarded to individuals, groups, or institutions in recognition of exceptional achievements. No other musician or ensemble has ever won both prizes, let alone in a single year.
The Kronos Quartet consists of David Harrington on violins, John Sherba on violins, Hank Dutt on viol) and Jeffrey Zeigler on cello. They have been performing together for over thirty years and have recorded over 45 albums. Kronos’ work has also garnered numerous awards, including a Grammy for Best Chamber Music Performance (2004) and “Musicians of the Year” (2003) from Musical America.
Kronos Quartet will be honored as the 2011 Avery Fisher Prize recipient on Wednesday, June 8, at an invitational ceremony to be held at Lincoln Center for the Performing Arts. As the recipient of this coveted honor, Kronos receives a monetary award of $75,000. On a marble plaque in Avery Fisher Hall, Kronos Quartet’s name will join the 20 previous Prize recipients, among them Richard Goode, Nadja Salerno-Sonneberg, Edgar Meyer, Emanuel Ax, Joshua Bell, Yefim Bronfman, and Yo-Yo Ma. The prestigious Avery Fisher Prize is awarded to individual musicians or chamber ensembles who are US citizens or permanent US residents for outstanding achievement and excellence in music. For more information, visit averyfisherartistprogram.org.
The Polar Music Prize laureates were announced on Tuesday, May 3, 2011 in Sweden at the Stockholm City Hall. The 2011 Polar Prize ceremony will take place on Tuesday, August 30, at the Stockholm Concert Hall, where King Carl XVI Gustaf and Queen Silvia of Sweden will hand out the awards, which carry a monetary value equivalent to approximately $155,000 ($1 million Swedish Kronor). Receiving the 2011 Polar Music Prize along with Kronos Quartet is singer/songwriter/poet Patti Smith. The Polar Music Prize was founded in 1989 by the late Stig Anderson, publisher, lyricist and manager of the legendary pop group ABBA. Previous Laureates include Björk, Steve Reich, Joni Mitchell, Pierre Boulez, Bob Dylan, Renée Fleming, Valery Gergiev, B. B. King, György Ligeti, Miriam Makeba, Sonny Rollins, Ravi Shankar, Isaac Stern, and a host of others representing a wide range of countries, cultures, and continents. For more information, visit polarmusicprize.org.
Image courtesy of artist
Legendary singer-songwriter Phoebe Snow died this morning, Tuesday, April 26, at 6:00 a.m. EST of complications following a massive hemorrhagic stroke she suffered on January 19, 2010. She was 60 years old.
“Our treasured icon heroically fought for almost a year-and-a-half to come back, enduring bouts of blood clots, pneumonia, and congestive heart failure, each time coming out of it, until her body finally could take it no more,” said her manager, Sue Cameron.
The award winning Colorado based songstress, René Marie, who found the courage to leave an abusive marriage after 23 years, asks Americans to express in a myriad of creative forms – poetry, photography, music – what it is that they love about their country in “Voice of My Beautiful Country Contest.” The grand prize winner will win an all expense paid trip to Washington, D.C. to watch the songstress perform at one of the countries finest jazz clubs in the country, Blues Alley, on July 6, 2011.
Native Americana is chocked full of the classic American sportswear elements coupled with a juxtaposition of primitive elements. According to Lars the Native Americana sports line was inspired when he visited the Native American Museum in New York.
“There were so many beautiful artifacts from the Native American Museum exhibition that I just walked away with a collection designed, inspired. It is very American sportswear. That is why I called it Native Americana.”
The 2011 Lady Got Chops Women’s Jazz Festival will take place in New York at various clubs throughout the month of March.
Jazz bassist Kim Clarke states, “The festival is designed to give women musicians, writers, band leaders and composers the recognition and share the history of women who preceeded them. In a time when art, cultural achievements as well as the struggle of humanity is slated to be erased from the history books it’s the least we can do in the digital age— to acknowledge and honor each other.”
Kim Clarke continues, “We have lost many of the giants of jazz.. Some of us have known and been in their presence as women performers. Few of the women instrumentalist’s names have survived the test of time. I have been told of a woman bassist who played with Charlie Parker. However, no name was ever provided. There are many lessons which can be garnered for young women today studying and understanding the struggles and achievements of those in times past. Before their story is completely forgotten we would also like to capture bright moments on film of those who are performing locally on a global scale.”
The festival was conceived in 2003 by mother and daughter new cafe owners Lillithe Meyers and Tiecha Merritt and produced by bassist Kim Clarke. The objective of the festival was to highlight the contributions of women in jazz. The original location of the festival, The Jazz Spot, (The locale was a challenge The address itself was erroneous as the entrance was around the corner from the legal address.) closed in 2009.
In 2010, Kim applied for a Chase grant and a few other grants. Friends came to her assistance and the festival continued under the Music and Arts name. In the past, up to 25 performances took place in 15 New York venues during one festival.
Former festival participants include: drummer Kim Thompson, bassist Amanda Ruzza, drummer Jocelyn Pleasant, drummer Camille Gainer-Jones, pianist Katie Cosco, vocalist Adesuwa, flutist Jan Leder-flutist, flutist Andrea Brachfeld, pianist Chiemi Nakai, trumpeter Tanya Darby, trumpeter Jami Dauber, drummer Sheila Early, percussionist Jacqueline Acevedo, vocalist Antoinette Montague, vocalist Aronda Way, saxophonist Camille Thurman, vocalist Vaughnette Bigford, percussionist Annette Aguilar, Jasmin Song and Mary Wormworth, vocalist Okaru Lovelace, vocalist Marilyn Kleinberg, trumpeter Pam Fleming, pianist Cybthia Hilts, bassist Nicki Parrot, cellist Nioka Workman, drummer Olivia Sci, pianist Rachel Eckroth, pianist Rachel Z, pianist Rebecca Levinson, pianist Roberta Piket, pianist Sara Towns, guitarist Sheryl Bailey, drummer Sylvia Cuenca-drums, bassist Tara Thierry, saxophonist Tia Fuller, trombonist Toli Almasi Reid, bassist abd trumpeter V.daNeesa Monk, percussionist Annette Aguilar, pianist Nikki Denner, bassist Jennifer Vincent, vocalist Cristelle Durandy, trumpeter Jackie Coleman, pianist Mala Waldron, pianist/arranger Mamiko Watanabe, violinist Marlene- Rice- saxophonist Meilana Gillard, bassist Melissa Slocum, pianist Miki Hayama, violinist Mireya Ramos, bassist Miriam Sullivan, vocalist Naomi Johnson, and many more.
Jazz bassist Kim Clarke states, “We have lost many of the giants of jazz. Some of us have known and been in their presence as women performers. Few of the women instrumentalists names have survived the test of time. I have been told of a woman bassist who played with Charlie Parker. However, no name was ever provided. There are many lessons which can be garnered for young women today studying and understanding the struggles and achievements of those in times past. Before their story is completely forgotten we would also like to capture bright moments on film of those who are performing locally on a global scale.”
Photo: Kim Clarke
Image courtesy of artist
The 9th annual LADY GOT CHOPS Womens Month Music Festival lineup:
MARCH 2
Bowery Wine Co
Jan Leder and Janice Friedman
MARCH 2
5C CULTURAL CENTER & CAFÉ 68 AvC
LADY GOT CHOPS UNPLUGGED SERIES
Lisa Parrott Trio
MARCH 3
5C CULTURAL CENTER CAFÉ 68 AvC
BERTHA HOPE
MARCH 4
Northport Tasting Room and Wine Cellar
70 Main St Northport NY
Sheryl Bailey “Hendrix-y Project”
Sylvia Cuenca- drums
Kim Clarke-bass
MANOLITOS
1586 2nd Ave. NE Corner of 82 and 2nd Ave NY 10028
(212) 717-4666 (212) 717-4666
“Mujeres Latinas”
Adela Dalto- vocals
Rosy Rex –drums Flor Urrutia -piano
Scooter Luz - bass
March 5
Dinah Vero-piano, Lakecia Benjamin-sax,
Luciana Padmore-drums and Kim Clarke bass
Reception: 6:30pm to 8pm/Performance: 8pm to 11pm
To purchase tickets please call 718-594-7607 718-594-7607
1489 Fulton Street Brooklyn
MARCH 5
The Bean Runner Cafe 201 S Division Street , Peekskill, NY
Jane Getter-guitar, bass Amanda Ruzza,Laura Dreyer-sax
Sylvia Cuenca -drums
MARCH 5
Northport Tasting Room and Wine Cellar
70 Main St Northport LI NY
LADEEZ IN THE HOUSE
Debbie Knapper-guitar
Debbie Robinson-bass
Lizzette Peaches Smith-drums
MARCH 6
Northport Tasting Room and Wine Cellar
70 Main St Northport LI NY
Beareather Reddy Blues and Vibes with
Diana Herold on vibraphone
MARCH 9
5C CULTURAL CENTER CAFÉ 68 Ave C
CLAIR DALY TRIO
MARCH 10
BOWERY WINE CO
13 EAST 1ST ST bet 2 and Bowery
Pam Fleming Qt
Pam Fleming –trumpet Lily White-sax
Janice Friedman-piano Jennifer Vincent-bass
MARCH 11
The Zinc Bar 7:30-9:30 82 East 3rd NYC 10012
Christelle Durandy and Cinq Tetes
MARCH 12
The Bean Runner Cafe 201 S Division Street , Peekskill,NY
SSumi Tonooka-piano,Lina Bloch-sax,Deb Kennedy -bass,
Jocelyn Pleasant-drums
MARCH 12
ZINC BAR Kelly Powers Quartet featuring Sharel Cassity-sax Linda Oh-bass
MARCH 14
THE PROPER CAFE
217-01 LINDEN BLVD. CAMBRIA HEIGHTS, NY
Debbie Knapper’s Birthday Jam
MARCH 18
ZINC BAR
Whitney Marchelle and Uptown Jazz feat. Helen Sung, Sylvia Cuenca
MARCH 18
Mala Waldron Project @ Bean Runner Café
MARCH 19
The Bean Runner Cafe
Yayoi Ikawa-piano Marlene Rice- violin, Jennifer Vincent-bass
Shirazette Tinnin drums
MARCH 19
The Zinc Bar 7:30-9:30 82 East 3rd NYC 10012
Pianist Katie Cosco and friends
MARCH 25
The Zinc Bar 7:30-9:30 82 East 3rd NYC 10012
Annette Aguilar and Stringbeans 7:30-9:30 @ the Zinc Bar
MARCH 26
The Bean Runner Cafe
Diana Herold-vibes Lakecia benjamin-sax,Luciana PAdmore-drums
Kim Clarke-bass
MARCH 28
East Elmhurst Library
Andrea Brachfeld Latin JAzz - Chiemi Nakai-piano,
Kim Garey-drums,Annette Aguilar -percussion
MARCH 30
Mala Waldron Project @ Miles Café
212 East 52nd St 3rd fl NY NY bet 2 dn &3rd
For additional information on the festival contact: http://kimclarke.8m.com/ladyfest9.html
![“I was presented with an opportunity to present [Thelonius] Monk to the public and, let’s face it, I’m not saying that I knew what we were doing … we were by no means hotshots at publicity or promotion. But I know what I had was a sincere belief in the validity of this artist. And when you get down to it, that is not a terribly usual thing for a jazz musician of this quality and this rarity and this difficulty to have a cooperative and enthusiastic record company….[I]f I had been in the business a couple of years before getting involved with him, I probably would have developed a hard coating by that time already, but I was full of enthusiasm and I’d like to think that some of it resulted in some very interesting records.”—NEA Jazz Master Orrin Keepnews
In an interview with NEA Jazz Master Orrin Keepnews, he shares with writer Theresa Crushshon an memorable experience with MONK.
JASSed: Hmm. Interesting. What were your most memorable experiences?Keepnews: Well, I guess the most memorable… I can think of two very quickly. Almost any occasion I was in the studio with Thelonious was memorable, aggravating and for the most part rewarding. I think probably the best thing that ever happened to me is that I got involved with working with Monk quite early. It was a matter that if I had been through that experience, I was not going to be afraid of anybody else. And probably the third time I worked with Monk, the first two albums we had agreed that the album would consist of standard tunes to give the audience a break in being able to understand Monk. Then the “Brilliant Corners” album was the third album I worked on with Monk. That’s the one that had Sonny Rollins on it. It eventually, in the last session, Clark Terry played. That was the first album I did with Monk that involved his original compositions. I look at that as a pretty remarkable thing. Another highlight to me is the live sessions that we did at the Village Vanguard that we did with Bill Evans and the trio he had briefly that included Scott LaFaro, which of course was the last work that they did together before Scott died.If I were going to single out spots in my activity those two sessions would be prehonors.](http://25.media.tumblr.com/tumblr_levgpq6QKS1qbsjwjo1_250.jpg)
“I was presented with an opportunity to present [Thelonius] Monk to the public and, let’s face it, I’m not saying that I knew what we were doing … we were by no means hotshots at publicity or promotion. But I know what I had was a sincere belief in the validity of this artist. And when you get down to it, that is not a terribly usual thing for a jazz musician of this quality and this rarity and this difficulty to have a cooperative and enthusiastic record company….[I]f I had been in the business a couple of years before getting involved with him, I probably would have developed a hard coating by that time already, but I was full of enthusiasm and I’d like to think that some of it resulted in some very interesting records.”—NEA Jazz Master Orrin Keepnews
In an interview with NEA Jazz Master Orrin Keepnews, he shares with writer Theresa Crushshon an memorable experience with MONK.
JASSed: Hmm. Interesting. What were your most memorable experiences?
Keepnews: Well, I guess the most memorable… I can think of two very quickly. Almost any occasion I was in the studio with Thelonious was memorable, aggravating and for the most part rewarding. I think probably the best thing that ever happened to me is that I got involved with working with Monk quite early. It was a matter that if I had been through that experience, I was not going to be afraid of anybody else. And probably the third time I worked with Monk, the first two albums we had agreed that the album would consist of standard tunes to give the audience a break in being able to understand Monk. Then the “Brilliant Corners” album was the third album I worked on with Monk. That’s the one that had Sonny Rollins on it. It eventually, in the last session, Clark Terry played. That was the first album I did with Monk that involved his original compositions. I look at that as a pretty remarkable thing.
Another highlight to me is the live sessions that we did at the Village Vanguard that we did with Bill Evans and the trio he had briefly that included Scott LaFaro, which of course was the last work that they did together before Scott died.
If I were going to single out spots in my activity those two sessions would be prehonors.
