George V Johnson Jr  

Jimmy Heath has long been recognized as a brilliant instrumentalist and a magnificent composer and arranger. Jimmy is the middle brother of the legendary Heath Brothers (Percy Heath/bass and Tootie Heath/drums), and is the father of Mtume. He has performed with nearly all the jazz greats of the last 50 years, from Howard McGhee, Dizzy Gillespie, and Miles Davis to Wynton Marsalis. In 1948 at the age of 21, he performed in the First International Jazz Festival in Paris with McGhee, sharing the stage with Coleman Hawkins, Slam Stewart, and Erroll Garner. One of Heath’s earliest big bands 1947-1948 in Philadelphia included John Coltrane, Benny Golson, Specs Wright, Cal Massey, Johnny Coles, Ray Bryant, and Nelson Boyd. Charlie Parker and Max Roach sat in on one occasion. During his career, Jimmy Heath has performed on more than 100 record albums including seven with The Heath Brothers and twelve as a leader. Jimmy has also written more than 125 compositions, many of which have become jazz standards and have been recorded by other artists including Art Farmer, Cannonball Adderley, Clark Terry, Chet Baker, Miles Davis, James Moody, Milt Jackson, Ahmad Jamal, Ray Charles, Dizzy Gillespie J.J Johnson and Dexter Gordon. Jimmy has also composed extended works - seven suites and two string quartets - and he premiered his first symphonic work,“Three Ears,”in 1988 at Queens College (CUNY)with Maurice Peress conducting. After having just concluded eleven years as Professor of Music at the Aaron Copland School of Music at Queens College, Heath maintains an extensive performance schedule and continues to conduct workshops and clinics throughout the United States, Europe, and Canada. He has also taught jazz studies at Jazzmobile, Housatonic College, City College of New York, and The New School for Social Research. “All I can say is, if you know Jimmy Heath, you know Bop. Dizzy Gillespie.

THE ART OF JAZZ VOCALESE

GEORGE V JOHNSON JR
Executive Director & Founder
Washington DC Jazz Network
wdcjn@hotmail.com

JIMMY HEATH.COM

January 22, 2010 - 2:00 PM

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LARRY RIDLEY
Executive Director
AFRICAN AMERICAN JAZZ CAUCUS
212-979-0304

"WORKING TOGETHER WORKS"

 

Exploring America's Classical Music w/ Dr. Larry Ridley Jazz Legend...

TEMPLE PRESS
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Jimmy Heath and Joseph McLaren, foreword by Bill Cosby, introduction by Wynton Marsalis

"I have long admired Jimmy's passion heard so clearly in his music; he is a soulful musician and a consummate educator. In these pages he gives a new voice to his love of life and music. He once told Dr. Camille Cosby that ‘our history is a mystery,’ so here he pulls back the veil and sets forth a wonderful collection of reminiscences culled from a long life of accumulated wisdom."
—Nancy Wilson, song stylist

Composer of more than 100 jazz pieces, three-time Grammy nominee, and performer on more than 125 albums, saxophonist Jimmy Heath has earned a place of honor in the history of jazz. Over his long career, Heath knew many jazz giants, such as Charlie Parker, and played with other innovators, including John Coltrane, Miles Davis, and especially Dizzy Gillespie. Along the way, Heath won both their respect and their friendship.

In this extraordinary autobiography, the legendary Heath creates a “dialogue” with musicians and family members. As in jazz, where improvisation by one performer prompts another to riff on the same theme, I Walked with Giants juxtaposes Heath’s account of his life and career with recollections from jazz giants about life on the road and making music on the world’s stages. His memories of playing with his equally legendary brothers, Percy and Albert (aka “Tootie”), dovetail with their recollections.

Heath reminisces about a South Philadelphia home filled with music and a close-knit family that hosted musicians performing in the city’s then thriving jazz scene. Milt Jackson recalls, “I went to their house for dinner. . . . Jimmy’s father put Charlie Parker records on and told everybody that we had to be quiet till dinner because he had Bird on. . . . When I [went] to Philly, I’d always go to their house.”

Today Heath performs, composes, and works as a music educator and arranger. By turns funny, poignant, and extremely candid, Heath’s story captures the rhythms of a life in jazz.

For over 60 years, the legendary Heath Brothers have been synonymous with great jazz. Endurance is their first CD since the passing of their beloved brother, legendary bassist Percy Heath.

“The Philly dynasty [of the Heath Brothers] is what you want to hear—family values with fire, yet cooler than cool.” — Village Voice

“The Heaths of Philadelphia are true jazz blue-bloods, [but] it’s when these elder statesmen get together that they become rambunctious, playful kids, making mischief in bebop’s backyard.” — Newsday

“Keeping the swing faith with a time-honored groove.” — Chicago Tribune

“One looks for good news anywhere lately, and the bass and drum-playing Heath Brothers alone—with cleanly articulated, deep, rich bass notes and an easy, funky swing—can supply it.” — Ben Ratliff, New York Times

JAZZLEGACYPRODUCTIONS.COM

 

RE-SCHEDULE FOR JANUARY

BARRY HARRIS IS ON TOUR IN JAPAN

RE-SCHEDULE FEBUARY

BARRY HARRIS IS ON TOUR IN JAPAN FOR THE NEXT FEW WEEKS

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

RE-SCHEDULE FEBUARY BARRY HARRIS IS ON TOUR IN JAPAN FOR THE NEXT FEW WEEKS Exploring America's Classical Music with the Great piano virtuoso Dr. Barry Harris"
Date to be Annouced  "The George V Johnson Jr Show"

CO-HOST

LARRY RIDLEY
Executive Director
AFRICAN AMERICAN JAZZ CAUCUS
212-979-0304

African American Jazz Caucus
Official Website


Click here to listen live
Join us in the Chatroom
Guest call-in number: (347) 637-3988

BARRY HARRIS' is an Internationally renowned Jazz Pianist, Composer and Teacher.





Dr. Harris is the recipient of an Honorary Doctorate from Northwestern University. He has received the Living Jazz Legacy award from the Mid-Atlantic Arts Association, and an American Jazz Masters Fellowship from the National Endowment for the Arts. In addition, Dr. Harris received the Manhattan Borough President Award for Excellence. This award was given for recognition of his devoted public service and in honor of excellence in the field of music. He received the 1999 Mentor award for his work with youngsters at the Manhattan Country School in NYC.

Dr. Harris has devoted his life to the advancement of Jazz and in the 1980’s founded the Jazz Cultural Theatre. For the past several decades Dr. Harris has been an exponent of the classic Jazz style that was developed by Charlie Parker, Dizzy Gillespie, Bud Powell, Thelonious Monk and Coleman Hawkins



Dr. Barry Harris receives frequent request to appear as a guest lecturer by Universities and various musical venues all over the world.

His lectures and interactive instrument and vocal workshops focus on the complete aspects of music including improvisation, harmonic movement and theory. His schedule includes lectures in the United States, Holland, Italy, Spain, Switzerland and Japan.

When he is not travelling, Dr. Harris holds weekly music workshop sessions in New York City for vocalists, students of piano other instruments.

Biography

Harris left Detroit for New York City in 1960. Influenced also by Art Tatum, Coleman Hawkins, Charlie Parker, and Thelonious Monk, Harris's playing is noted for its uncanny similarity to Bud Powell.[citation needed]

Harris has played with Cannonball Adderley, Illinois Jacquet, Coleman Hawkins, Dexter Gordon, and Max Roach. As a lead artist, he has recorded over 14 albums.

During the 1970s, Harris lived with Monk and his family at the Weehawken, New Jersey home of the jazz patroness Baroness Pannonica de Koenigswarter, and so was in an excellent position to comment on the last years of his fellow pianist.[1]

Harris appears in the 1989 documentary film Thelonious Monk: Straight, No Chaser (produced by Clint Eastwood), performing duets with Tommy Flanagan.

Since 1996 Barry Harris has collaborated with Toronto-based pianist and teacher Howard Rees in creating a series of videos and workbooks documenting his unique harmonic system and teaching process.

In 2000, he was profiled in the film Barry Harris - Spirit of Bebop.

Barry Harris continues to perform and teach worldwide. When he is not travelling, he holds weekly music workshop sessions in New York City for vocalists, students of piano and other instruments.

JAZZ CULTURAL THEATRE

In the Eighties, Harris maintained a unique institution, the Jazz Cultural Theater, in a former restaurant storefront on Eighth Avenue near 23rd Street in Manhattan. There he taught group music and piano lessons, as well as hosted his own performances and those of other like-minded artists. His album For the Moment was recorded there.

His approach to the teaching of jazz uses methods and techniques that pre-date the Berklee school and the Lydian Chromatic approach of George Russell. He relies upon the 6th chord and the 8-note, rather than the 7-note jazz scale, as a basis for melody and harmony. This is the material used by Bud Powell, Joseph Schillinger, George Gershwin, Glenn Miller, and even Frédéric Chopin. He emphasizes the concept of building a repertoire of one's own musical movements over common harmonic formulae.

The Jazz Cultural Theater was designed to last as long as the students and audiences kept the doors open. Unfortunately, Mr. Harris had an illness which required all his attention, and the theater closed at that time.

Theoretical Concepts

Barry Harris’ approach to jazz harmony relies heavily on the diminished chord and its relationship to the twelve keys. Utilizing the diminished chord, he has formulated scales which allow pianists greater freedom in accompaniment, to play, in his own words “movement, not chords.”

His fundamental scale is the major “sixth-diminished” scale, but equally important are the minor sixth to diminished and the dominant seven flat five to diminished scale. The major sixth-diminished scale is a major scale with a half step between the 5th and 6th scale degrees. A typical exercise using this scale involves playing a C Major 6th chord, up the scale to a D diminished 7th chord, back to C Major 6th in first inversion, to F diminished 7th ( i.e. D diminished 7th first inversion ), to C Major 6th in second inversion, and so on, up the scale until it reaches the octave. Moving chords up and down the scale in this way gives more possibilities for “movement”, as opposed to playing a static chord when playing jazz standard songs. Extending this concept, Barry relates all chord alterations (flat and sharp 9’s, sharp 11’s, flat 13’s, etc.) to a particular sixth-diminished scale, which gives options for “moving” the alterations through the scales.

Discography
[edit] As leader
Photo by Brian McMillen

* Wild As Springtime (with Lee Konitz, Candid Records)
* Breakin' It Up (Argo 1958)
* Barry Harris at the Jazz Workshop (Riverside 1960)
* Listen to Barris Harris . . . Solo Piano (Riverside 1960)
* Preminado (Riverside 1961)
* Newer Than New (Riverside 1961)
* Chasin' The Bird (Riverside 1962)
* Luminescence (Prestige 1967)
* Bull's Eye (Prestige 1968)
* Barry Harris Trio: Magnificent (Prestige 1969)
* Barry Harris plays Tadd Dameron (Xanadu 1975)
* Tokyo (1976)
* Barry Harris Plays Barry Harris (Xanadu 1978)
* Stay Right with It (Xanadu 1978)
* For the Moment (Uptown 1984)
* The Bird of Red and Gold (Xanadu 1989)
* Live at Maybeck Recital Hall - Volume Twelve (Concord 1991)
* First Time Ever (Ecidence 1997)
* Live in New York (Reservoir 2002)

[edit] As sideman

* "The Magnificent Thad Jones" by Thad Jones (1956; Blue Note Records)
* Them Dirty Blues by The Cannonball Adderley Quintet (1960)[2][3]
* The Sidewinder by Lee Morgan (1963; Blue Note Records)
* Bopstacle Course by Terry Gibbs (1974; Xanadu Records)
* Saturday Morning by Sonny Criss (1975; Xanadu Records)
* Al Cohn's America by Al Cohn (1976; Xanadu Records)
* Eastern Sounds by Yusef Lateef (1961; Prestige Records)
* True Blue by Al Cohn, Dexter Gordon (1976; Xanadu Records)
* Silver Blue by Al Cohn, Dexter Gordon (1976; Xanadu Records)
* The Colossus of Detroit by Billy Mitchell (1978; Xanadu Records)
* Earl May Quartet: Swinging The Blues with Barry Harris (Arbors Records)

Support the African American Jazz Caucus (AAJC) & Juneteenth Jazz!
www.aajc.us
www.JuneteenthJazz.com

LARRY RIDLEY
Executive Director
AFRICAN AMERICAN JAZZ CAUCUS
212-979-0304

African American Jazz Caucus Official Website

WORKING TOGETHER WORKS!

MISSION: The African American Jazz Caucus, Inc., is dedicated to protecting, preserving and perpetuating the rich cultural heritage of jazz, which is one of our indigenous musical art forms.

PRESERVING THE JAZZ LEGACY

Jazz is an art form which has its origins, spiritual, heritage and cultural roots in Africa, African American communities and the African Diaspora. The African American Jazz Caucus, Inc. (AAJC), is proactively working to maintain the aesthetic integrity, heritage, legacy and historical facts germane to the music. We are engaged in creating programs and providing services to further jazz education and jazz audiences. The Caucus invites and encourages proactive members to share their expertise in our
networking with national and international communities.


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NATIONAL ASSOCIATION OF JUNETEENTH JAZZ PRESENTERS (NAJJP)

"June is Black Music Month!"
CELEBRATING JUNETEENTH JAZZ
"Preserving Our African American Jazz Legacy!"

WASHINGTON JUNETEENTH JAZZ & ARTS FESTIVAL
www.19thofjune.com/festival.html

Hosted by: National Juneteenth Observance Foundation
www.njof.com
19th of JUNE Calendar


HONORING WASHINGTON, DC JAZZ LEGEND

DUKE ELLINGTON
Historic jazz orchesetra composer, leader & pianist
Born in Washington, DC

PRESS RELEASE

Rev. Ronald V. Myers, Sr., M.D., Artistic Director
Mississippi Jazz & Heritage Program (MJHP)
662-247-1471 or 662-247-3364

(Belzoni, Mississippi) - As the National Juneteenth Jazz Artist, minister, physician and jazz musician, Rev. Ronald V. Myers, Sr., M.D., performs across the country promoting "June Is Black Music Month!" - CELEBRATING JUNETEENTH JAZZ - Preserving Our African American Jazz Legacy!" Founder of the National Association of Juneteenth Jazz Presenters (NAJJP), Myers is the leader of the "Modern Juneteenth Movement" in America and the National Juneteenth Holiday Campaign. The NAJJP is the sponsor of several Juneteenth Jazz Legacy Concerts and African American Art Exhibits during Black Music Month, including the historic African-American jazz legacy cities of Kansas City, MO and Omaha, NB.


"RON MYERS PROMOTES JUNETEENTH JAZZ DURING BLACK MUSIC MONTH"

JUNETEENTH TRAVEL
www.JuneteenthTravel.com

www.JazzMississippi.com
www.ChristianJazz.net
www.JazzWisconsin.com
www.JuneteenthJazz.com
www.JazzMissouri.com
www.JazzNebraska.com
www.JazzOklahoma.com
www.JazzIllinois.net
www.JazzIndiana.net



Thursday, June 17, 2010
Westminster Presbyterian Church
400 I Street, S.W. Washington, DC
202-484-7700

Art Exhibit Opens at 1:00pm
Reception at 6:00pm
Concert Begins at 7:00pm

Free Admission! No Cover Charge! DONATIONS APPRECIATED!
19th of JUNE Calendar

Exploring America's Classical Music with the Great "Little Jimmy Scott". Jimmy Scott (July 17, 1925 in Cleveland), aka "Little" Jimmy Scott, is an American jazz vocalist. Lionel Hampton gave him the stage name of "Little Jimmy Scott" because he looked so young, and was short and slight of build. However, it was his extraordinary phrasing and romantic feeling that made him a favorite singer of fellow artists like Billie Holiday, Ray Charles, Nancy Wilson, and Dinah Washington. Scott was born in Cleveland, Ohio to Authur and Justine Stanard Scott, third in a family of ten. As a child he got his first singing experience by his mother's side at the family piano, and later, in church choir. His father was absent most of the time as he was taken with drink, gambling, and other women. Jimmy worshipped his mother, and whatever money he could make doing odd-jobs, went to her to help the family. At thirteen, he was orphaned when his mother was killed by a drunk driver. Witnesses say that she pushed one of Jimmy's siblings out of the way of a speeding car but, in the process of saving her child's life, lost her own. Scott first rose to national prominence as "Little Jimmy Scott" in the Lionel Hampton Band when he sang lead on the late 1940s hit "Everybody's Somebody's Fool", recorded in December 1949 and which became a top ten R&B hit in 1950.

GEORGE V JOHNSON JR

Exploring America's Classical Music with the Great "Little Jimmy Scott"
Tuesday, December 15th 5:00 pm EST
"The George V Johnson Jr Show"


Click here to listen live
Join us in the Chatroom
Guest call-in number: (347) 637-3988

Jimmy Scott (July 17, 1925 in Cleveland), aka "Little" Jimmy Scott, is an American jazz vocalist.

Lionel Hampton gave him the stage name of "Little Jimmy Scott" because he looked so young, and was short and slight of build.

However, it was his extraordinary phrasing and romantic feeling that made him a favorite singer of fellow artists like...

Billie Holiday,



Ray Charles

Dinah Washington

and Nancy Wilson.

Scott was born in Cleveland, Ohio to Authur and Justine Stanard Scott, third in a family of ten. As a child he got his first singing experience by his mother's side at the family piano, and later, in church choir. His father was absent most of the time as he was taken with drink, gambling, and other women. Jimmy worshipped his mother, and whatever money he could make doing odd-jobs, went to her to help the family. At thirteen, he was orphaned when his mother was killed by a drunk driver. Witnesses say that she pushed one of Jimmy's siblings out of the way of a speeding car but, in the process of saving her child's life, lost her own.

Early career

Scott first rose to national prominence as "Little Jimmy Scott" in the Lionel Hampton Band when he sang lead on the late 1940s hit "Everybody's Somebody's Fool", recorded in December 1949 and which became a top ten R&B hit in 1950.

Credit on the label, however, went to a 'male vocalist', a slight to his talent and a blow to his career. A similar professional insult occurred several years later, when his vocal on "Embraceable You" with Charlie Parker, on the album "One Night in Birdland", was credited to female vocalist Chubby Newsome.



Some of the early big bands Jimmy enjoyed were Count Basie's Band,

Erskine Hawkins,



and Father Earl Hines, but Lester Young was his favorite tenor sax player. He joined Lionel Hampton's Band in 1948, where he discovered the vibraphone and the strings, Jimmy said “it helped him to learn the beauty of the song and encouraged him to sing”.

Lionel was a mentor to Jimmy and the one who tagged him with the stage name, “Little Jimmy Scott”, at the time he was 23, only 4'11”, thin, and very young looking. Jimmy said it was a gimmick for Lionel's show, but it wasn't too many years later that you started hearing more singers take their cue from Jimmy's stage name and call themselves Little So & So.



Everybody's Somebody's Fool - JIMMY SCOTT
Charlie Parker - Embraceable You - 1947
Little Jimmy Scott--Someone To Watch Over Me
Sometime I Feel Like a Motherless Child
Little Jimmy Scott--Imagination

In 1963, it looked as though Scott's luck had changed for the good. Signed to Ray Charles's Tangerine label, he recorded under the supervision of Charles himself, creating what is considered by many to be one of the great jazz vocal albums of all time, Falling in Love is Wonderful.

Owing to obligations on a contract Jimmy had signed earlier with Herman Lubinsky, the record was yanked from the shelves in a matter of days, while Jimmy was honeymooning. 40 years later this cult album became available to the public again. Jimmy disputes the 'lifetime' contract; Lubinsky loaned Jimmy out to ....

Syd Nathan at King Records for 45 recordings in 1957 & 58.

Another legendary masterpiece, the album The Source (1969), on which Jimmy sings as intensely as ever, was not released until 2001.

Scott's career faded by the late 1960s and he returned to his native Cleveland to work in a hospital and as an elevator operator in a hotel.



Scott resurfaced in 1991 when he sang at the funeral of his long-time friend Doc Pomus.

Afterwards Lou Reed recruited him to sing back-up on the track "Power and Glory" on his 1992 album Magic and Loss, which was inspired, to an extent, by Pomus' death.

Afterwards, Scott was seen on the series finale of David Lynch's show Twin Peaks, singing "Sycamore Trees." He was featured on the soundtrack of the follow-up film Fire Walk With Me. This brought him to the attention of the music industry and he has enjoyed significant success since then.

His comeback took off in earnest with the 1992 release of the album "All The Way" on Sire Records, produced by Tommy Lipuma and featuring artists such as

Kenny Barron,

Ron Carter,

and David "Fathead" Newman.



Jimmy Scott was nominated for a Grammy Award for this album.

He followed this up with the album "Dream" in 1994, and the jazz-gospel album "Heaven" in 1996. He also recorded an album of mostly pop and rock covers, "Holding Back the Years" in 1998, including his own version of Prince's Nothing Compares 2 U (a world hit for Sinéad O'Connor).

In 1999, his early recordings on the Decca label were re-released on CD,





as were all of his recordings with the Savoy Label between 1952 and 1975 in a 3 disc Box Set. In 2000, Jimmy Scott was signed to the Milestone jazz label, and recorded four critically acclaimed albums,



each produced by Todd Barkan, and featuring a variety of jazz artists, including Wynton Marsalis, Renee Rosnes, Bob Kindred, Eric Alexander, Lew Soloff, George Mraz, Lewis Nash, and many more, as well as Jimmy's own touring and recording band "The Jazz Expressions". He also released two live albums, both recorded in Japan, and featuring the Jazz Expressions.

Jimmy Scott's career has spanned sixty five years. He has performed with a list of artists that reads like a history of jazz music of the time, including

Charlie Parker,

Sarah Vaughan

Lester Young,

Lionel Hampton

Charles Mingus

Fats Navarro

Bud Powell

Ray Charles

Wynton Marsalis,

He has also performed with a host of musicians from other genres of music, such as David Byrne, Lou Reed, Flea, Michael Stipe, and Antony & The Johnsons.

Scott performed at President Eisenhower's (1953)

President Clinton's (1993) Inaugurations where he sang the same song "Why Was I Born".

Most recently he has appeared in live performances with Pink Martini, and continues to perform internationally at music festivals and at his own concerts.

In 2007 Jimmy Scott received the 2007 NEA Jazz Masters National Endowment of the Arts Jazz Master Award.

Scott also received the Kennedy Center's "Jazz In Our Time" Living Legend Award, and N.A.B.O.B.'s Pioneer Award in 2007. In September 2008 he did a "two-day video interview" at his Vegas home with the "Smithsonian Institute for the National Archives".

Scott is working on a new album "I Remember You" dedicated to his wife Jeanie. Along with "Special Guest" Artists & Duets, this CD will be uniquely different from anything he's ever done before and is planned for release on his Wedding Anniversary, New Year's Eve December 31, 2009.

For the last three years Scott and his wife Jeanie have been living in Las Vegas, Nevada, after living in Euclid, Ohio for 10 years.

Some of the others who worked with Caldonia at one time or another were

Ruth Brown,

Big Maybelle



Elie Adams, and Jack McDuff. Caldonia took Jimmy along with her to do a special performance at Gamby's in Baltimore in 1945,

Redd Foxx


Albums

* Very Truly Yours (Savoy) (1955)
* If You Only Knew (Savoy) (1956)
* The Fabulous Songs Of Jimmy Scott (Savoy) 1960)
* Falling In Love Is Wonderful (Tangerine) (1963) (Re-issue 2003)
* The Source (Atlantic) (1969) (Re-issue 2001)
* Can't We Begin Again (Savoy) (1975)
* Doesn't Love Mean More (J's Way) (1990)
* Live In New Orleans (1951 Concert) (Fantasy) (1991)
* All The Way (Sire) (1992)
* Dream (Sire) (1994)
* Heaven (Sire) (1996)
* Holding Back The Years (Artists Only) (1998)
* Mood Indigo (Milestone) (2000)
* Over The Rainbow (Milestone) (2001)
* Unchained Melody (Live Album) (Tokuma) (2001)
* But Beautiful (Milestone) (2002)
* Moonglow (Milestone) (2003)
* All Of Me: Live In Tokyo (Venus) (2004)
* Pearls album by Dave Sanborn (Alto Sax) featuring Jimmy Scott

Compilations

* Lost And Found (Rhino) (1993)
* Bravo Profiles: A Jazz Master (Bravo) (1993)
* All Over Again (Savoy Jazz) (1995)
* Everybody's Somebody's Fool (Universal) (1999)
* The Savoy Years & More (Box Set) (Savoy Jazz) (1999)
* Les Incontournables (Warner) (2000)
* Timeless (Savoy Jazz) (2002)
* Someone To Watch Over Me (2-Disc) (Warner) (2004)
* The Essential Jimmy Scott (Metro) (2005)
* Milestone Profiles: Jimmy Scott (Milestone) (2006)

Filmography

* Twin Peaks – "29-Beyond Life and Death" (1991)
* Scotch & Milk (1998)
* Chelsea Walls (2002)
* Stormy Weather: The Music of Harold Arlen (2002) (TV)
* Jimmy Scott: If You Only Knew (DVD) (2003

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

All-Inclusive nine day Trip of a Lifetime to experience the mysteries and splendor of the Egyptian past. Departure date: June 23, 2010. Click for details...

LARRY RIDLEY
Executive Director
AFRICAN AMERICAN JAZZ CAUCUS
212-979-0304

African American Jazz Caucus Official Website

WORKING TOGETHER WORKS!

MISSION: The African American Jazz Caucus, Inc., is dedicated to protecting, preserving and perpetuating the rich cultural heritage of jazz, which is one of our indigenous musical art forms.

PRESERVING THE JAZZ LEGACY

Jazz is an art form which has its origins, spiritual, heritage and cultural roots in Africa, African American communities and the African Diaspora. The African American Jazz Caucus, Inc. (AAJC), is proactively working to maintain the aesthetic integrity, heritage, legacy and historical facts germane to the music. We are engaged in creating programs and providing services to further jazz education and jazz audiences. The Caucus invites and encourages proactive members to share their expertise in our networking with national and international communities.


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

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. 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.