George V Johnson Jr  

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GERALD WILSON
Official Site

Born: September 4, 1918 - Back in 1939, Gerald Wilson joined the

Jimmie Lunceford Orchestra as a trumpet soloist and an arranger. 66 years later, Wilson is still very active, having long been considered one of the top arrangers, composers and big band leaders in the history of jazz. 86 as of this writing, he has lost none of his enthusiasm, skills or creativity, and still manages to sound quite modern.

Throughout his career, Gerald Wilson has received incredible acclaim, including winning the Downbeat International Critics Poll both as a composer/arranger and for his big band,

and winning the Paul Robeson Award, the NEA American Jazz Masters Fellowship, and a pair of American Jazz Awards. He has been elected to the Mississippi Jazz Hall of Fame, has had his life's work archived by the Library of Congress



and has earned six Grammy® nominations. But his real legacy is his music itself.

Gerald Wilson 'Miles Stone' on Frankly Jazz
Gerald Wilson and the making of 'Monterey Moods'
Gerald Wilson - Viva Tirado
Gerald Wilson - California Soul 7" 45 DJ K-Tel

Gerald Wilson - A Jazz Composer Arranger Sui Generis

To follow up on his critically acclaimed Mack Avenue debut, “New York, New Sound” (one of the Grammy nods), Wilson returned to Manhattan to lead an all-star big band through the ten tunes featured on “In My Time.” The centerpieces of the project are the three selections--“Dorian.” “Ray's Vision at the U,” and “Blues For Manhattan”--that comprise the suite titled “The Diminished Triangle.” “ ‘The Diminished Triangle’ is the study of diminished chords,” explains Wilson. “We have three diminished chords which add up to 12 different notes, and all musicians study the 12 tones. By using the diminished triangle many different ways, one can get a lot of different harmonic sounds. This suite gave me the opportunity to use a lot of eight-part harmony.”

Commissioned by The California Institute for the Preservation of Jazz,
and supported by a generous grant from the



National Endowment for the Arts, and marshaled by Cal State Long Beach educator Ray Briggs (for whom “Ray's Vision at the U” was named), “The Diminished Triangle” was debuted at Cal State L.A. on April 2, 2005.



Purchase CD "IN MY TIME"

Every selection on “In My Time” is filled with a sense of exhilaration, dense and distinctive harmonies, and stirring solos. “Sax Chase,” which in the 1980s was known as “Triple Chase,” showcases Wilson's talents as an arranger, and features stirring saxophone solos from Ron Blake, Steve Wilson, Kamasi Washington, Gary Smulyan and Dustin Cicero. On “Blues For Manhattan” Wilson explained that he utilized five-part harmony for the sax section, so that each player is performing a harmony of the melodic line without any doubling. One of the highlights on “Lomelin,” written for the great bullfighter Antonio Lomelin, is a dramatic trumpet solo from Jon Faddis. As evidence that Wilson’s music is inherently connected to his life, “AEN” is named after his son, guitarist Anthony Wilson, and for his two grandsons, Eric and Nicholas, while “Musette,” which includes a beautiful guitar solo from Russell Malone, was named after a poodle given to Gerald's three daughters. Also on this memorable project are Wilson's “Jeri” (named after his first-born daughter) and reworkings of Miles Davis' “So What” and Cole Porter’s “Love For Sale.” “I originally wrote an arrangement for 'Love For Sale' in 1953, using



Jerry Dodgion on lead alto. 52 years later, I got to use him again on the new version.” Among the other soloists heard from along the way are trumpeters Jimmy Owens, Sean Jones and Jeremy Pelt, trombonist Luis Bonilla and pianist Renee Rosnes.

“The musicians in the band were really into the music and they are brilliant players,” enthused Wilson. “They are at home everywhere they are, in every bar of music.” The same can be said for the veteran bandleader.

Born in Shelby, Mississippi in 1918, Gerald Wilson knew early on that he was going to be a musician. While living in Detroit, he studied harmony and orchestration at Cass Tech in addition to working on his trumpet chops. In 1939, when he got the call to join

Jimmie Lunceford's orchestra, he was ready. “When I got a chance to join them,” remembers Wilson, “I was thrilled to death.

The Jimmie Lunceford band was at the top of the heap at the time and they could outdraw everyone. They had such creative arrangements by Edwin Wilcox, Sy Oliver and Eddie Durham, and their musicians were very good. I made my first arrangements for them, “Yard Dog Mazurka” and “Hi Spook.”

After a few years gaining recognition for his work with Lunceford and after serving a stint with the U.S. Navy, Wilson settled in Los Angeles.

He wrote and played trumpet for Benny Carter and Les Hite and led his own big band during 1944-47, making his first recordings as a leader.

Despite the success of the first Gerald Wilson Orchestra, he decided to break up the band in 1947 and further his musical studies. Wilson knew that there would be time for other big bands, and he has always wanted to learn as much as possible about harmony and orchestration, and developing his own writing style.

In 1948 Wilson joined the Count Basie Orchestra for two years,

and in 1950 he joined the Dizzy Gillespie big band as a trumpet player and arranger, where his contributions included his composition “Couldn't Love, Couldn't Cry.” In the 1950s he became very active as an arranger and orchestrator not only in jazz, but also for popular singers of the time and in commercial music.

Among those he wrote for were Duke Ellington (including a classic arrangement of “Perdido” in 1951),

Billy Holiday

Sarah Vaughan,

Ray Charles,

Julie London,

Bobby Darin,

Carmen McRae,

Ella Fitzgerald,

Nancy Wilson and countless others.

He also wrote symphonic compositions that were performed by the Los Angeles Philharmonic under the direction of Zubin Mehta, including the extended work “5/21/72,”

and was the conductor and music director for the ABC variety program The Redd Foxx Show. “I did so much commercial work for so many years. I can't even count the amount of arrangements that I wrote. It's just in the last few years that I stopped doing commercial work altogether and have stuck completely to jazz. It takes a lifetime to be a jazz musician.”

Gerald Wilson, who eventually gave up playing trumpet to concentrate on his writing, became particularly famous in the jazz world through his series of classic big band recordings for the Pacific Jazz label in the 1960s including “You Better Believe It,” “Moment Of Truth,” “Portraits,” “On Stage” and “The Golden Sword.” His catchy “Viva Tirado” became a top 40 pop hit in 1970 when recorded by El Chicano. He also hosted a daily jazz program on Los Angeles' KBCA in the early 1970s and taught jazz history for 13 years at California State University Northridge, and for six years at Cal State L.A., and now still teaches at UCLA. His 1980s recordings for the Discovery label further solidified Wilson's musical legacy, as have his regular appearances with his longtime L.A.-based orchestra. “My band in Los Angeles has been together for decades and I have some players who have been with me for more than 15 years. We always enjoy performing around town at concerts and festivals.”

Summing up his thoughts on his latest project, Gerald Wilson says, “I've listened to ‘In My Time’ several times and, honestly, this might very well be the best record I've ever made. The intonation of the musicians is so good, the musicians interpreted the music so well, and they are great young players who are looking ahead, moving the banner of jazz into the future.” Young as some of the musicians may be, none have a more youthful spirit than the ageless Gerald Wilson.

Press Quotes


“Veteran L.A.-based big-band leader Gerald Wilson, who first played Monterey in 1963, has been commissioned to write special pieces for the festival. This year's theme-and-variations model, “Monterey Moods,” is similar to 1997's “Theme for Monterey.” In this case, Wilson comes from different arrangemental/compositional angles on a simple 10-measure theme, with accents designed to accommodate the mantra “Mon-ter-ey.” Needless to say, boosterist spirit was in the air, and more than usual, at this 50th bash.” -- Josef Woodard, JazzTimes

“The legacy of Gerald Wilson and the Monterey Jazz Festival are closely linked. From his first visits to Monterey in the early 1960's playing and hanging out with Diz and Monk to his commission pieces for our 25th, 40th and now 50th anniversary, Gerald's spirit has infused the festival with his unique brand of artistry, humanity and pure, swingin' fun. Gerald Wilson and the Monterey Jazz Festival have helped create a vibrant and long-lasting west coast musical spirit. It's a great partnership and we are honored to be associated with him!” --Tim Jackson, General Manager, Monterey Jazz Festival

“Playing with Gerald Wilson is always such a joy and an inspiration, as is hearing the results. … you'll also discover Gerald Wilson the person ... intelligent, wise, full of joy and classy, just like his compositions.” --Jon Faddis

“Gerald Wilson is one of the greatest composers and arrangers living today. Monterey Moods, is another example of his genius.” --Kenny Burrell

“Gerald Wilson's longevity with his creativity alone gives testimony to his value as an international treasure.” --Hubert Laws

Donald Harrison Jr. (born June 23, 1960) is an American jazz saxophonist from New Orleans, Louisiana. He is nicknamed "The King of Nouveau Swing". His father, Donald Harrison, Sr. was a legendary "Big Chief" in New Orleans cultural history. Donald Harrison played with Roy Haynes, Jack McDuff, Art Blakey's Jazz Messengers and Don Pullen in the 1980s. He also played with the re-formed Headhunters band in the 1990s. In 1991 he recorded "Indian Blues," which captured the sound and culture of Congo Square in a jazz context. In 1994 Harrison created the "Nouveau Swing" style of jazz, which merges the swing beat with many of today's popular dance styles of music, as well as styles that are prominent from his cultural experiences in his hometown. Harrison also performs in the smooth jazz genre. His group Donald Harrison Electric Band has recorded popular radio hits and have charted in the top ten of Billboard magazine. He performs as a producer, singer and rapper in the traditional Afro-New Orleans Culture and Hiphop genres with his group, The New Sounds of Mardi Gras. The group, which has two recorded 2CDs, was started four years ago and has made appearances worldwide. Harrison is the Big Chief of the Congo Nation Afro-New Orleans Cultural Group which keeps alive the secret traditions of Congo Square. Harrison also writes orchestral works for major orchestras. Harrison was chosen as the "person of the year" by Jazziz magazine in January 2007. His latest CDs, 3D Vols. I, II, and III, feature him in three different musical genres. On Vol. I he writes, plays, and produces music in the smooth jazz, and R&B style. On Vol. II he writes, produces and plays in the classic jazz style. On Vol. III he writes plays and produces in the hiphop genre. As of 2007 Harrison is working on a large orchestral work which investigates what it is like to be a participant New Orleans culture. Harrison was forced to evacuate New Orleans after Hurricane Katrin. www.donaldharrison.com

DONALD HARRISON
Official Site

Donald Harrison - Saxophonist - Singer - Composer
DONALD HARRISON, JR.
(The King of Nouveau Swing)

Donald Harrison is being called one of the most important musicians of the new millennium by CBS Sunday Morning. A list of his accomplishments shows that he has developed into a musical category unto himself. In the classic jazz genre, he is the originator of the Nouveau Swing style which merges acoustic swing with modern R&B, second-line, hip-hop, (New Orleans African American roots culture), and reggae rhythms. His smooth jazz recording, “The Power of Cool,” went to the top of Billboard Magazine’s Smooth Jazz and R&B charts and is considered a classic. His ground-breaking recording, “Indian Blues”captured the essence of Mardi Gras Indian culture within a jazz context. His latest New Orleans recording, “The New Sounds of Mardi Gras,” updates New Orleans music. It puts the sounds of Mardi Gras into Hip-hop, R&B, and Funk. It also marks Harrison’s debut as a rapper. The great singer-pianist Dr. John says of the recording, “This is the freshest thing to come out of New Orleans in years. You deserve an award for this one.” Harrison’s newest Classic Jazz recording, “Heroes,” is now available. The CD is a trio recording with the great bass innovator Ron Carter and drum innovator Billy Cobham. The CD also features three bonus tracks with his young working band. In April he released “Freestyle” with his young working band. It showcases his Nouveau Swing in an even funkier presentation. In September Half-Note Records will release his second trio recording with Ron Carter and Billy Cobham which was recorded live at the Blue Note NYC. Presently, Harrison is recording yet another CD titled, “3D.” The recording is a three CD set which features a different genre of music on each disc. The genres are Classic Jazz, R&B-Smooth Jazz, and Hip-hop. This exciting project will showcase Harrison’s ability to produce, write, sing, rap, and play many instruments.

Harrison now a proven master of many musical genres, has written and performed many innovative classic jazz compositions. Some of his compositions are now part of the standard repertoire of jazz. He has written and performed in the R&B and smooth jazz genre where his chart topping recording, “The Power of Cool” has received radio airplay everyday for the last 10 years. He has also written and performed as a Hip-hop MC. His influence on the whole rap culture as an early mentor of The Notorius BIG on the science of rap and life was documented on VH-1. He is also master singer/dancer in traditional New Orleans culture. Harrison now a Big Chief even designs and makes his own Mardi Gras costumes which are considered works of art.

Donald Harrison "A night in Tunisia"
Big Chief Donald Harrison Quintet
Change Player SizeTerrence Blanchard & Donald Harrison (Live)
A Conversation with Donald Harrison Jr.

He is The Big Chief of Congo Square with his group the Congo Nation. He has composed and played classical works with major orchestras. The question with Harrison is not what he can do, but is there anything he can’t do? So far he has mastered and influenced everything he has touched.


Today the 47-year-old saxophonist is regarded as one of the most influential musicians of these times, yet he remains inextricably tied to his New Orleans roots.

The son of late great Big Chief Donald Harrison, Sr. began working with

Roy Haynes at age 19 and Jack McDuff at age 20.

He joined Art Blakey's Jazz Messengers at age 21.

A few years later, he co-led a band with Terence Blanchard that had an enormous impact on the development of the "neo-conservative" movement. After that group split in 1989, Harrison became a prodigious leader releasing a number of well-received records.

Harrison has also discovered and nurtured some of the finest young jazz musicians like the young trumpeter Christian Scott,

Mark Whitfield,

Dwayne Burno,

Christian McBride,

Cyrus Chestnut,

as well as rap icon The Notorious BIG who was his neighbor in Brooklyn for eight years. He also worked throughout the 90's with a wide variety of world-class talents.

Such notables include Lena Horne,

Spike Lee

Latin jazz giant Eddie Palmieri, and the smash hip–hop groups, Jazzmatazz,

The Notorius BIG,

and Digable Planets. All of this diverse experience fuels Harrison's dynamic sound. In the new millennium, Harrison has written and performed major orchestral works. Recently he has performed with his own groups as well as The Head Hunters, Jennifer Holiday, Larry Coryell, and The Art of Four with Billy Cobham, Ron Carter, and James Williams.

He is one of the few musicians who can play it all - from traditional New Orleans, to swing, bop, post-bop, modern, smooth, avant-garde, and beyond. Yet, Harrison has developed his own personal style that traverses and synthesizes all these mediums with great success. Through talent and perseverance, Harrison has developed into one of the most significant artist to emerge in the last twenty years!



"Mr. Harrison turned out to be one of the most musicologically literate jazz players to come out in ages.”
New York Times


“Donald Harrison Jr. … the most interesting, most accessible, and most talented musician in the country right now.”
East Bay Express


"… One of the more innovative bandleaders New Orleans has produced in the past 20 years.”


Contact: phone (504)813-5888, e-mail DonHarMusi@aol.com

GEORGE V JOHNSON JR
Executive Director
Washington DC Jazz Network
240-691-3868

The Washington DC Jazz Network gets over 500 views per day and email blast can reach
over 30,000 jazz fans in this power base. Let me design you a blog and e-blast to thousands of jazz lovers. I've got a deal you can't refuse!!

THE GEORGE V JOHNSON JR SHOW
Washington DC Jazz Network
THE GEORGE V JOHNSON JR SHOW
Blog Talk Radio

Jazz saxophonist and composer Dr. Frank B. Foster will be honored with the BNY Mellon Jazz 2009 Living Legacy Award in a special ceremony at the John F. Kennedy Center for the Performing Arts on Friday, October 2, 2009. Frank Foster (born 23 September 1928) is an American tenor and soprano saxophonist, flautist, arranger, and composer, who is best known for his work in different periods with the Count Basie orchestra, as well as under his own name. He was born in Cincinnati, Ohio, and educated at Wilberforce University. Frank Foster is the subject of a feature length documentary entitled "Shiny Stockings". Produced by Jazz Legacy Films and directed by award winning film maker Brian Grady, the film looks at Frank's career as a Jazz parable and "Shiny Stockings" the tune serves as a touchstone in the film addressing the many ways of measuring "success". The film is in final production and is expected to be released in early 2010.

THE GEORGE V JOHNSON JR SHOW

John F. Kennedy Center

FRANK FOSTER Official Site

Saxophonist, Composer and Jazz Educator Frank Foster Named
BNY Mellon Jazz 2009 Living Legacy Awardee

Award to be Presented Friday, October 2, 2009 at the
John F. Kennedy Center for the Performing Arts
7:30 to 11:00 pm

Jazz saxophonist and composer Dr. Frank B. Foster will be honored with the BNY Mellon Jazz 2009 Living Legacy Award in a special ceremony at the John F. Kennedy Center for the Performing Arts on Friday, October 2, 2009.



The BNY Mellon Jazz 2009 Living Legacy Award is a program of Mid Atlantic Arts Foundation and is sponsored by The Bank of New York Mellon. The Award honors living jazz masters from the mid-Atlantic region who have achieved distinction in jazz performance and education.

The Award celebration will include a reception, the award ceremony, and a performance by BNY Mellon Jazz 2008 Living Legacy Awardee Kenny Barron   in the Kennedy Center's Terrace Theatre.

"Dr. Frank Foster is an exceptional selection for the 2009 BNY Mellon Jazz Living Legacy Award," said Jim McDonald, BNY Mellon's director of philanthropy and employee programs. "A renowned saxophonist, arranger and composer, Dr. Foster is a gifted and versatile master of jazz performance."




FRANK FOSTER Official Site

Frank Foster (born 23 September 1928) is an American tenor and soprano saxophonist, flautist, arranger, and composer, who is best known for his work in different periods with the Count Basie orchestra, as well as under his own name. Read more...

Frank Foster is the subject of a feature length documentary entitled "Shiny Stockings". Produced by Jazz Legacy Films and directed by award winning film maker Brian Grady, the film looks at Frank's career as a Jazz parable and "Shiny Stockings" the tune serves as a touchstone in the film addressing the many ways of measuring "success". The film is in final production and is expected to be released in early 2010,  Click link below:

Visit the Jazz Legacy Films website: JAZZ LEGACY FILMS.COM.


Foster was born in Cincinnati, Ohio, and educated at Wilberforce University. In 1949, he moved to Detroit, Michigan where he joined the local jazz scene, playing with musicians such as Wardell Gray. Drafted into the US Army in 1951, Foster served in Korea with the 7th Infantry Division.
Frank Foster photo gallery



Upon finishing his military service in 1953 he joined Count Basie's big band. Foster contributed both arrangements and original compositions to Count Basie’s band including the standard, “Shiny Stockings,” and other popular songs such as “Down for the Count,” “Blues Backstage,” “Back to the Apple,” “Discommotion,” and “Blues in Hoss Flat” as well as arrangements for the entire Easin’ It album.

From 1970 to 1972 (and on occasional later dates) he played with Elvin Jones, and in 1972 and 1975 with the Thad Jones–Mel Lewis big band. Foster was an Artist in Residence at the New England Conservatory of Music in Boston in 1971. That same year, he also started teaching for the New York City Public School System in District 5, Harlem, as part of a team of six professional musicians assigned to the Federal Government’s Title I Program: Cultural Enrichment Through Music, Dance, and Song. From 1972 to 1976, Foster was full-time Assistant Professor in the Black Studies Program at the State College of New York at Buffalo (SUNY).

Foster also formed and lead several groups, most notably Living Color and The Loud Minority. He co-led a quintet with Frank Wess in 1983, and toured Europe as a member of Jimmy Smith's quintet in 1985.

In 1986, Foster succeeded Thad Jones as leader of the Basie band, with which he stayed until 1995. After his departure in 1995, he led various groups including the revival of

The Loud Minority.



Previously named NEA Jazz Master Frank Foster, JLCO member Joe Temperley, 2009 NEA Jazz Master Snooky Young

Frank Foster suffered a stroke in 2001 that impaired his left side to the extent that he could no longer play the saxophone. However, as of 2009 he continues to lead his bands Swing Plus and The Loud Minority on limited engagements, mostly in the New York City area. He also continues arranging and composing at his home in Chesapeake, Virginia, where he resides with his wife and personal manager of nearly 40 years, Cecilia Foster.

AWARDS AND

* Foster received two Grammy Awards: the first, for his big band arrangement of the Diane Schuur composition, “Deedles’ Blues, “ (Best Arrangement Accompanying a Vocal, 1987), and the second for his arrangement of guitarist/vocalist George Benson’s composition, “Basie’s Bag” (Best Instrumental Arrangement, Jazz Category, 1988). He also received two Grammy nominations: first, for his big band arrangement of Charles Trenet’s composition, ”Beyond the Sea,” and next for an album with his fellow Basie alumnus Frank Wess entitled Frankly Speaking.

* He has composed and orchestrated material for The Carnegie Hall Jazz Ensemble, The Detroit Civic Symphony Orchestra, The Ithaca College Jazz Ensemble, The Jazzmobile Corporation of New York City, The Lincoln Center Jazz Orchestra, The Malaysia Symphony Orchestra, The Metropole Orchestra of Hilversum, Holland, and The Thad Jones/Mel Lewis Orchestra. In 1983 Dizzy Gillespie personally commissioned Frank Foster to orchestrate one of the jazz icon’s compositions, “Con Alma,” for a scheduled performance and recording with The London Philharmonic Orchestra directed by Robert Farnon.

* In 1987, he was awarded an honorary doctorate by Central State (formerly Wilberforce) University.
* In 2009, Foster selected The Jazz Archive at Duke University to be the home for his numerous compositions, arrangements, and personal papers

Count Basie - Shinning Stockings
Frank Foster and the Loud Minority
Frank Foster "Shinning Stockings"
The Count Basie Orchestra, directed by Frank Foster, Burghausen 199...
The Count Basie Orchestra, directed by Frank Foster, Burghausen 199...
The Count Basie Orchestra, directed by Frank Foster, Burghausen 199...
The Count Basie Orchestra, directed by Frank Foster, Burghausen 199...
The Count Basie Orchestra, directed by Frank Foster, Burghausen 199...

AS A LEADER:

* 1953: Here Comes Frank Foster (Blue Note Records)
* 1954: New Faces, New Sounds (Blue Note Records)
* 1956: Two Franks Please! (Savoy)
* 1956: No Count (Savoy)
* 1963: Basie Is Our Boss (Argo)
* 1965: Fearless Frank Foster (Prestige)
* 1966: Soul Outing! (Prestige)
* 1968: Manhattan Fever (Blue Note)
* 1969: Frank Foster (Blue Note)
* 1974: The Loud Minority (Mainstream)
* 1976: Here and Now (Catalyst)
* 1977: Shiny Stockings (Denon)
* 1978: Twelve Shades of Black (Leo)
* 1978: Roots, Branches and Dances (Bee Hive)
* 1979: Non-Electric Company (EPM Musique)
* 1982: The House That Love Built (SteepleChase)
* 1983: Two for the Blues (Pablo/OJC)
* 1984: Frankly Speaking (Concord Jazz)
* 1995: A Fresh Taste of Thad Jones and Frank Foster (Hanssler Classics)
* 1996: Leo Rising (Arabesque)
* 1998: Swing (live) (Challenge)
* 2002: Live at Feuerwache Mannheim (Bassic)
* 2003: We Do It Diff'rent (live) (Mapleshade)
* 2005: Endless Fingers (Arabesque)
* 2007: Well Water (Piadrum)

GEORGE V JOHNSON JR
Executive Director
Washington DC Jazz Network
240-691-3868

THE GEORGE V JOHNSON JR SHOW
Washington DC Jazz Network
THE GEORGE V JOHNSON JR SHOW
Blog Talk Radio

The "Louis "Satchmo" Armstrong Summer Jazz Camp" was established by Jackie Harris along with then Mayor of New Orleans, Marc Morial in 1995. This jazz music education program has provided the opportunity to more than 1200 young music students between the ages of 10 to 20 years old to study jazz in its birthplace. Harris serves as Executive Director and Producer of the jazz camp and is the Executive Director of the New Orleans Arts and Cultural Host Committee, the presenter of the program. SEPTEMBER 24TH, WASHINGTON, DC EVENT TO FEATURE JIMMY COBB'S "SO WHAT" BAND AND THE LOUIS "SATCHMO" ARMSTRONG SUMMER JAZZ CAMP ALUMNI ALL-STARS. Featuring Edward Kid Jordan, Kent Jordan-flute, Herlin Riley-drums, Courtney Ryan-piano, Brian Quezerque-bass, Calvin A Johnson-tenor sax, Gregory Agid-clarinet, Troy Andrew-trombone Washington, DC, September 9, 2009: Congressman John Conyers, Jr., Chairman of the House Judiciary Committee, and Dean of the Congressional Black Caucus, will host the 24th Annual Jazz Issue Forum and Concert during the Congressional Black Caucus Foundation's 39th Annual Legislative Conference, September 23-26, at the Walter E. Washington Convention Center, 801 Mount Vernon Place, NW, Washington, DC 20001