MAY 24 27 2001The Crowne Plaza Presents - PDF document

1 MAY 24 - 27, 2001The Crowne Plaza Presen
MAY 24 - 27, 2001The Crowne Plaza Presents THE LOS ANGELES JAZZ INSTITUTE GroovinÕ High-An All-Star Celebration of the Bebop Erataking place May 24-27, 2001 at The Crowne Plaza Hotel GroovinÕ High promises to be one of the most outstanding jazzgatherings to ever take California. We are togethermost of of the bop era. The primary period that we are focusing on is history of jazz due to the brilliant musical revolutions that explodedduring those five years. A number of concerts have been designedfeaturing musicians who were part of the bebop revolution as well as several repertory concerts performing important music from theera. There will also be film showings and panel discussions wherethe story of modern jazz will be told by the artists who created it.Full Registration is $300 if you order by April 15. After that date, the full registration price will be $350. Full registrants will have reserved seating for all concerts.Seats will be assigned in the order received.Send your check or money order to: The Los Angeles Jazz InstituteIf you wish to order by credit card or require additional information please telephone our ticket office at (909)593-4180between the hours of 9am to 6pm.Hotel reservations should be made directly with the Crowne Plaza.The toll-free number is Be sure to mention you are attending the jazz festival to receive the special discounted rate. We expect the hotel to fill up quicklyespecially since many of the musicians are from outside southernCalifornia and will be staying at the hotel. We would encourage youto make your reservations right away. The deadline for receiving the special rate is April 27. the creators of modern jazz together in one place at one time. Sincerely,en PostonCONVENTION FACTSDATES May 24-27, 2001The Crowne Plaza90277The special convention rate in registration fee.Reserve your room now PRE- REGISTRATION$300 before April 15Includes reserved seating for all events.VENDORSables are ava

2 ilable.Call (909)593-4180 for more infor
ilable.Call (909)593-4180 for more informationTICKETSTickets are available for order tickets by phone or for more informationcall (909)593-4180 WILLIAM P. GOTTLIEBphotographed jazz performersto illustrate articles he wasshington Post and others.one of Dizzy Gillespie, arejazz personalities of that era.Jazz, is currently in its twelfthprinting. To read some of BillÕs anecdotes and to view www.jazzphotos.comof his photos can be securelyordered from this site. technique, he was also a brilliantinterpreted by a wide variety ofBarry Harris is one of the foremost exponents of Beboppiano. His early influences included Bud Powell, TaddDameron and Thelonious Monk.He grew up in the thriving Detroitjazz scene before establishing aninternational reputation duringthe 1950Õs. 3:30-4:30PANEL 252ND STREET SCENE PT. 1ANELISTS: STAN LEVEY, After itÕs initial incubation periodat MintonÕs and MonroeÕs, Bebopburst upon the scene in 1943ettiford were booked at theheadquarters of the jazz worldmostly located between 5th andand Pettiford had split. Pettifordtook a new group across thestreet to The Yacht Club. His bass player at the Yacht Clubengagement was Leonard Gaskin.Charlie Parker made his 52nd St.debut in the fall of 1944 and byearly 1945 Dizzy and Bird hadjoined forces at the Three DeucesLevey on drums. The Three Deucesengagement ended in July andDizzy went on the road with hisfirst big band in a tour called ÒThe Hepsations of 1945Ó. Birdstayed in New York and openedMonroeÕs Spotlite Club featuringSir Charles Thompson, LeonardGaskin and Stan Levey. By the end of the year, modern jazz wasfirmly entrenched on 52nd St.5:00-6:00 CONCERT 2BOPSTICLE COURSEWITH ALICE COLTRANE, RAVI COLTRANE ANDjazz pioneers and one of the first to use the vibraphone in a modern jazz setting. He was inhigh demand during the bop era,making his 52nd St. debut at TheThree Dueces in 1946 as a THURSDAY, MAY 24, 20010:00-11:00FILM 1 Many of the characteristics that

3 came to define modern jazzbegan evolving
came to define modern jazzbegan evolving several years prior to the emergence of whatwe think of as bebop. During this evolution a number of artistswere prime influences to thenew stylistic developmentincluding Lester Young,Blanton, Art Tatum, BusterWilliams. GroovinÕ Highpresentation featuringartists who were the transition ofSwing to Bop.1:15-12:15PANEL 1 UP AT MINTONÕSNELISTS: CECIL PAYNE,in various locations throughoutthe country, two clubs in Harlembecame central focal points:MintonÕs Playhouse on 118thStreet and Clark MonroeÕsUptown House on 134th Streetboth hosted after hours jam sessions that provided a uniqueatmosphere for the young new ideas. The house band atMintonÕs featured two importantpioneers, Kenny Clarke andThelonious Monk. By the early 1940Õs there were a number ofegulars at the sessions includingthe likes of Charlie Christian,Dizzy Gillespie, Charlie Parker,Max Roach, Cecil Payne, IdreesSulieman, and Leonard Gaskin.2:00-3:00CONCERT 1MISTERIOSOTHE MUSIC OF THELONIOUS MONKFEATURING BARRY HARRISÒHigh Priest of BopÓ, in realityThelonious MonkÕs unique MintonÕs and was very importantin influencing the new directionsthat jazz was going. In addition to his highly personal piano Schedule of EventsPHOTO WILLIAM GOTTLIEB De Arango Trio. outstandinggrover the years whichhave featuredanimpressive array offuture Alice Coltrane.features a Òtogetheragain for the firsttimeÓ reunion ofAlice Coltrane making a very rare appearance with special guests Ravi Coltrane 8:00CONCERT 3THE MUSIC OF TADD DAMERON-SLIDE HAMPTON-JIMMY HEATH-CECIL PAYNEadd Dameron was a arranger who wasprobably the first writer to showthat bop could be orchestratedfor larger ensembles. Besides being a prolific composerbandleader. He worked regularlyat The Royal Roost with a groupthat included Fats Navarro and Allen Eager. Many of his jazz standards.FRIDAY, MAY 25, 20010:00-11:00FILM 252ND STREET THEMEbebop, was a regular fixture atseveral of the

4 clubs on The Street.There were four club
clubs on The Street.There were four clubs in particularthat featured the new music: The Onyx, The Three Deuces, TheSpotlite and The Downbeat. Inband for an extended engagementwhich lasted several months. 1:15-12:15PANEL 3THE 52ND STREET SCENE PT. 2NELISTS: ALLEN EAGER,CHUBBY JACKSON, By the mid 1940Õs the entire history of jazz could be heardAll styles were represented from ÒBy day the street was dingierthe glitter of Broadway twoblocks west...The street after darkpromise. Neon lights brightenedbrownstones. Banners bearing the names of the featured artistsinside fluttered against theawnings of the marquees, and if one were interested in the find there itÕs principle stars in animprobable concentration.ÓÑRoss Russell from Bird Lives.2:00-3:30CONCERT 4THE 52ND STREET ALL-STARSCECIL PAYNE, ALLEN EAGER,had taken up residence onÒThe StreetÓ, most of theyounger musicians worked as sidemen with the morewere invited to sit in esulted in an incredible group of all-stars sharing PHOTO WILLIAM GOTTLIEBPHOTO WILLIAM GOTTLIEB 3:45-4:45PANEL 4DIZZY ATMOSPHERENELISTS: JAMES MOODY,JIMMY HEATH, AL MSTAN LEVEY, CECIL PAYNEAlong with Charlie Parker, DizzyGillespie is credited as being thecreator of modern jazz. Due to hisoutgoing personality he becamethe general spokesman for thenew music and was bebopÕs mostecognizable figure. The image ofthe horn rimmed glasses, beretand goatee became synonymouswith the hipster persona. Musically,Dizzy was a natural born leaderwho helped open many doors forhis contemporaries. He alwayshired the best musicians for hisown groups and many futurehis bands. This panel discussionfeatures several of these giantswho came to prominence working with Dizzy.5:00-6:00CONCERT 5WO BASS HITTHE AL McKIBBON ALL-STARSAl McKibbon first came to Nework in the mid 1940Õs as a Band. He was introduced to 52ndDizzy GillespieÕs Big Band wherehe met the pioneering cuban percussionist Chano Pozo. At jazz. Working closely with Chan

5 o Pozo, McKibbon was one of the first Am
o Pozo, McKibbon was one of the first American intricacies of the complex 8:00CONCERT 6FEATURING AN ALL-STAR JAMES MOODY, JIMMY HEATH,CECIL PAYNE, AL McKIBBON,SLIDE HAMPTONhis first bebop big band for theHepsations of 1945 tour. In 1946he re-formed a big band andinto the 1950Õs. The firstwas led by Billy Eckstinein 1944. Both Dizzy andCharlie Parker were part of that ground breakingensemble. When Eckstinearrangements to Dizzy whichwriters. One of the most prolificcontributors to DizzyÕs big bandbook was Gil Fuller who was oneof the architects of the style ofthe band. Other arrangers includedadd Dameron, John Lewis,George Russell and Gerald Wilson. BirkÕs Works features an all-stararrangements andfeaturing severalartists who werekey figures inDizzyÕs Big Band. Charlie Barnet Orchestra in thelate 1940Õs when Barnet hadDuring the 1950Õs he becameimportant figures of the eraAll-Stars, June Christy and3:30-4:30PANEL 6CHARLIE PARKERANELISTS: DUKE JORDAN, STAN LEVEY, HANK JONES,Charlie Parker was one of the20th Century. His impact on thejazz world was immeasurable. Hiscreativity was unequaled and hisinfluence was far reaching. Thereis not a jazz musician alive todayset new standards in the areas ofrhythm, harmony and improvisation5:00-6:00CONCERT 8JAMES MOODYÕS James Moody first came toprominence as a member of DizzyGillespieÕs Big Band in 1946 andhas been a major jazz figure eversince. He made his first recordingsecords under the name of JamesMoodyÕs Modernists. His 1949ecording of IÕm in the Mood forLove, which inspired MoodyÕs Moodfor Love, became one of the most well known jazz recordingsof all time. TURDAY, MAY 26, 20010:00-11:00FILM 31:15-12:15PANEL 5MAKINÕ WAXPETE RUGOLO, OZZIE CADENAWhen modern jazz first started tobe recognized as a force of itÕsown, the major record companieswere reluctant to record the newcontroversial music. It was thedocumented bebop during itÕsinfancy. On the East Coast, labelssuch as Manor, Gui

6 ld, Musicraft,Blue Note and Savoy wereso
ld, Musicraft,Blue Note and Savoy weresounds on shellac. The West Coastwas represented by the entry ofDial Records into the market in1946. RCA was the first majorlabel to throw itÕs hat in the ringfollowed a few years later byColumbia and Capitol. Towardsthe end of the era New Jazz, laterenamed Prestige, became an2:00-3:00CONCERT 7Gillespie, Bud Powellshould be considered oneof the creators of modernjazz. Practically every pianist thathas come along since has beeninfluenced by Bud Powell. Hisenormous. In addition to hisbrilliance as a pianist, he was alsocompositions. Un Poco Locoexplores the compositions of Bud Powell.Claude Williamson first came toprominence as a member of the PHOTO WILLIAM GOTTLIEB 8:00CONCERT 9AN ALL-STAR TRIBUTE TOCHARLIE PARKER FEATURING:STAN LEVEYBird Lives is designed as a musicaltribute to Charlie Parker featuringfour key periods of his career presentedchronologically. Theconcert features the compositionsof Charlie Parker performed bywere influenced by him.PART 1 covers BirdÕs 52nd St. days fromhis initial appearance in 1944through December 1945. Itwas during this period thathe first collaborated withto change the course ofjazz. He also appeared as a sideman on several recordfeatures music from CharliearkerÕs stay in Los Angelesand lasted until the spring of1947. Dizzy Gillespie brought agroup including Charlie Parkerengagement at Billy BergÕsnightclub.in February 1946. The rest of theband returned to New York butBird stayed behind. He beganecording for Ross RussellÕs new Dial Record Company andstarted performing around theLos Angeles area. It was at one ofthe Dial sessions that he suffereda breakdown and ended up inhis release he did two more west coast dates for Dial beforeeturning to New York.Upon his return to New York heecorded frequently and performedegularly with his own groupsDuke Jordanpiano. He continued to record forDial and Savoy and towards theecord for Norman Granz. Granzoften show

7 cased him with otherjazz stars including
cased him with otherjazz stars including a memorableCharlie Parker had alwaysdreamed of recording with stringsand in 1949 he finally was giventhe opportunity. Norman Granzcommissioned some arrangementsfor a small string group and tookNovember. The following monthBirdland, a club named in hishonor, opened on Broadway Bird Lives concludes featuring Phil Woodsoriginal arrangements written for Bird with strings. SUNDAY, MAY 27, 20010:00-11:00FILM 4HIGH WIND IN HOLLYWOODBEBOP INVADESTHE WESTTEDDY EDWARDS, HOWARD RUMSEY, STAN LEVEY, BUDDY COLLETTEWhen Dizzy Gillespie brought his group to Los Angeles in 1945it was billed as ÒBebop Invadesthe WestÓ. When they arrived,they found that there werealready a few musicians on thecoast who were playing the new music. Howard McGhee had come to Los Angeles withyear and decided to stay. He puttogether a group of like mindededdy Edwards, Hampton Hawesand Roy Porter. They also foundthe likes of Dodo Marmarosa, dell Gray and Lucky Thompsonas well as youngsters like 2:00-3:00CONCERT 10Frank Morgan came to Losscene in and around Central Ave.and Hollywood. Today he is considered one of the finest altosaxophonists in jazz and is one ofthe true keepers of the flame. 3:30-4:30PANEL 8BOP CITYANELISTS: HANK JONES, PHIL WOODS, BUDDY DeFRANCO,By the late 1940Õsentrenched young musicianshadas the new jazz stars.Regular broadcastsfrom venues like MetropolitanBoperaHouse) and laterBirdland gavewidespread exposureera big bands that were still inexistence even started incorporating libraries. Gene Krupa,Benny Goodman were allin the modern idiom.It was obviousthat modernjazz was here to stay.CONCERT 11TEDDYÕS FLATTHE TEDDYEDWARDS eddy Edwardsfirst came toin 1945 withOrchestra and once he switched to tenora bebop pioneer. He was oneof the first tenor saxophonists8:00CONCERT 12THE BIRDLAND ALL-STARSFEATURING: HANK JONES, BUDDY DeFRANCO, the opening of a brand new jazzvenue at 1678 Broadway that wasoom in the w

8 orld. Named afterCharlie Parker, Birdlan
orld. Named afterCharlie Parker, Birdland openeditÕs doors on December 15, 1949.orldÓ, it had all of the amenitiesto live up to itÕs claim. There werebooths, tables and the famed bullpen. The walls featured portraitsof the greatest names in jazz.There was also a booth wherenightly broadcasts. As the newdecade arrived Birdland becameclubs in the universe. The rosterof artists who performed there ona regular basis reads like a whoÕswho of jazz. By the mid 1950Õsthere were national tours featuring The Stars of Birdland.One of the popular attractionswas a group billed as the East-est All-Stars which featured top names from both coasts. GroovinÕ High closes with a star-studded East-West extravaganza. Thursday, May 24, 2001Film 1 The Roots of Bebop$10.00_____anel 1 Up at MintonÕs 10.00_____Concert 1Misterioso15.00_____anel 2 52nd St. Scene Pt. 110.00_____Concert 2Terry Gibbs20.00_____Concert 3Dameronia 25.00_____Friday, May 25, 2001Film 2 52nd Street Theme10.00_____anel 352nd St. Scene Pt. 210.00_____Concert 452nd St. All-Stars20.00_____anel 4Dizzy Atmosphere10.00_____Concert 5Al McKibbon15.00_____Concert 6BirkÕs Works40.00_____ Saturday, May 26, 2001Film 3Dance of the Infidels10.00_____anel 5 MakinÕ Wax 10.00_____Concert 7Un Poco Loco15.00_____anel 6 Bird Lore 10.00_____Concert 8James Moody20.00_____Concert 9Bird Lives40.00_____ Sunday, May 27, 2001Film 4 High Wind in Hollywood 10.00_____anel 7 Bebop Invades the West10.00_____Concert 10Frank Morgan15.00_____anel 8Bop City 10.00_____Concert 11Teddy Edwards15.00_____Concert 12Birdland40.00_____ TOTALFULL FOUR DAY REGISTRATION___Full Four Day Registrations @ $300 each =_______GRAND TOTAL ORDER FORM INDIVIDUAL TICKETSyou may purchase tickets for individual events as follows: AddressCity, State, Zip Country Telephone ( )otal Enclosed (U.S. Dollars Only) $DISC #EXPSIGNATURE MAIL COMPLETED The Los Angeles Jazz InstitutePROGRAM SUBJECT TO CH