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. At home she hears blues all thetime but mostly listens to Britney Spears. There is a growing number of blues-in-the-schools programs around thecountry, but Messrs.Dolins and Goering feel strongly that there ought to bemany more.Barrelhouse Chuck brightened when I told him that on December 7,when the president announced the recipients of the annual Presidential Medal ofFreedom the country s highest civilian award B.B.King, an American blueslegend, was on the list for his distinguished service to the nation and, I wouldadd, the world.In 1999, jazz critic Peter Watrous wrote in the New York Times: The wells thatgave rise to so much American music have seemingly dried up.Blues culture isdead. But that same year, John Burnett of National Public Radio reported fromthe Mississippi Delta, the deepest fount of black blues, about a sixty-four-year-oldauto mechanic and blues guitarist, Johnnie Billington, who d become the JohnnyAppleseed of the blues in the area s schools.At the Rosa Fort Middle School, hehad put together a blues band; and as the youngsters played a slow blues, Mr.Billington pointed to a kid: You see! He s feeling it, see! Barrelhouse Chuck tells me he ll accept any invitations he gets to go intoclassrooms. That s where the future of this music is. It s too bad that ClearChannel and other corporate radio chains and stations have no playing time forBarrelhouse Chuck.44 Jazz s History Is Living in Queens.No book on jazz history that I ve seen includes the deeply rooted, living history ofthis music in the borough of Queens in New York City.Years ago, I interviewedLester Young ( president of the tenor saxophone ) in his home there; and I ve vis-ited the Louis Armstrong Home (a National Landmark, administered by QueensCollege) and the Armstrong Archives at Queens College.But until recently, I hadno idea of the scores of jazz makers who have lived in Queens, and those whohave died there. 134 RootsThe list is long, but among them: Count Basie; Bix Beiderbecke; DizzyGillespie and Louis Armstrong (close neighbors and friends); Ella Fitzgerald;John Coltrane; Woody Herman; Jimmy Rushing; Julian Cannonball Adderley; Fats Waller; James P.Johnson; Jimmy Heath; and Tony Spargo (he was a mem-ber of the white New Orleans Original Jazz Band that, in 1917, made the first jazzrecording).The fount of this research finally aligning Queens with New Orleans, Chicago,Manhattan and other storied centers of jazz is the Flushing Council on Cultureand the Arts in Flushing Town Hall.Its regular tours of The Queens Jazz Trail include a large illustrated map of the icons and their addresses over the years.The lively map is the creation of Marc Miller, who has written a twenty-two-pageguide that is further animated by tour conductor Toby Knight (a singer with theChords, a doo-wop band).Mr.Miller tells of John Coltrane tutoring children and teenagers in his St.Albans, Queens, neighborhood who showed musical promise.And he tells of apivotal 1930s evening in jazz history when Benny Goodman first jammed withpianist Teddy Wilson at a party in the Forest Hills, Queens, home of Red Norvoand Mildred Bailey.The Goodman trio was birthed that night one of the first,and the most historic, racially integrated groups to play in public.(There hadbeen integrated after-hours jamming for years before.)Mr.Miller has found that the first jazz community in Queens was formed byClarence Williams a successful record producer, music publisher and entre-preneur who in 1923 bought a home in Jamaica where he planned to create acommunity of black musicians.At a time when there were few hotels forAfrican Americans, many out-of-town musicians stayed with the Williams fam-ily; among them Willie the Lion Smith, Ma Rainey and Bessie Smith.LouisArmstrong probably got his first exposure to Queens visiting Williams. The word got around of how welcoming Queens was becoming andremained for black musicians.Armstrong wrote, not long before his death,about how much he treasured the home his wife, Lucille, had bought for him inCorona in 1943: Just think through the 29 years that we ve lived in this housewe have seen just about three generations come up on this particular block.Lots of them have grown up, married, had children, and they still come backand visit Aunt Lucille and Uncle Louis. And many of them went to the LouisArmstrong Elementary School and the Louis Armstrong Intermediate School inQueens.Another Queens resident at the time, trumpet player Clark Terry, told me thatArmstrong would occasionally invite Terry and other musicians to his home totell us the history of jazz. The greatly respected bassist Milt Hinton ( the Judge, his fellow musicianscalled him) spoke for many in that community of black jazz creators about the Jazz s History Is Living in Queens.135effect being together in Queens had on their lives. When I look back on it now,I realize what that house really meant to us.For the first time, Mona and I hadsomething that was ours.It was our security and some new roots. The roots continue to be fruitful.At the Flushing Council on Culture and theArts the curator of the past, and the generator of the future, of Queens jazzproducer Clyde Bullard has, for the past eight years, produced concerts with,among other jazz performers, Barry Harris, Marian McPartland, Dr.Billy Taylorand Randy Weston.His father, C.B.Bullard for twenty-seven years head of the jazz depart-ment at Atlantic Records founded the jazz program at the Flushing Council,along with Jo-Ann Jones and Cobi Narita.Recently, Clyde Bullard applied for aNational Endowment for the Arts grant to allow the creation of an 18-memberresident Town Hall Jazz Orchestra to be directed by Jimmy Heath, known to hispeers as the complete Jazzman [ Pobierz całość w formacie PDF ]
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. At home she hears blues all thetime but mostly listens to Britney Spears. There is a growing number of blues-in-the-schools programs around thecountry, but Messrs.Dolins and Goering feel strongly that there ought to bemany more.Barrelhouse Chuck brightened when I told him that on December 7,when the president announced the recipients of the annual Presidential Medal ofFreedom the country s highest civilian award B.B.King, an American blueslegend, was on the list for his distinguished service to the nation and, I wouldadd, the world.In 1999, jazz critic Peter Watrous wrote in the New York Times: The wells thatgave rise to so much American music have seemingly dried up.Blues culture isdead. But that same year, John Burnett of National Public Radio reported fromthe Mississippi Delta, the deepest fount of black blues, about a sixty-four-year-oldauto mechanic and blues guitarist, Johnnie Billington, who d become the JohnnyAppleseed of the blues in the area s schools.At the Rosa Fort Middle School, hehad put together a blues band; and as the youngsters played a slow blues, Mr.Billington pointed to a kid: You see! He s feeling it, see! Barrelhouse Chuck tells me he ll accept any invitations he gets to go intoclassrooms. That s where the future of this music is. It s too bad that ClearChannel and other corporate radio chains and stations have no playing time forBarrelhouse Chuck.44 Jazz s History Is Living in Queens.No book on jazz history that I ve seen includes the deeply rooted, living history ofthis music in the borough of Queens in New York City.Years ago, I interviewedLester Young ( president of the tenor saxophone ) in his home there; and I ve vis-ited the Louis Armstrong Home (a National Landmark, administered by QueensCollege) and the Armstrong Archives at Queens College.But until recently, I hadno idea of the scores of jazz makers who have lived in Queens, and those whohave died there. 134 RootsThe list is long, but among them: Count Basie; Bix Beiderbecke; DizzyGillespie and Louis Armstrong (close neighbors and friends); Ella Fitzgerald;John Coltrane; Woody Herman; Jimmy Rushing; Julian Cannonball Adderley; Fats Waller; James P.Johnson; Jimmy Heath; and Tony Spargo (he was a mem-ber of the white New Orleans Original Jazz Band that, in 1917, made the first jazzrecording).The fount of this research finally aligning Queens with New Orleans, Chicago,Manhattan and other storied centers of jazz is the Flushing Council on Cultureand the Arts in Flushing Town Hall.Its regular tours of The Queens Jazz Trail include a large illustrated map of the icons and their addresses over the years.The lively map is the creation of Marc Miller, who has written a twenty-two-pageguide that is further animated by tour conductor Toby Knight (a singer with theChords, a doo-wop band).Mr.Miller tells of John Coltrane tutoring children and teenagers in his St.Albans, Queens, neighborhood who showed musical promise.And he tells of apivotal 1930s evening in jazz history when Benny Goodman first jammed withpianist Teddy Wilson at a party in the Forest Hills, Queens, home of Red Norvoand Mildred Bailey.The Goodman trio was birthed that night one of the first,and the most historic, racially integrated groups to play in public.(There hadbeen integrated after-hours jamming for years before.)Mr.Miller has found that the first jazz community in Queens was formed byClarence Williams a successful record producer, music publisher and entre-preneur who in 1923 bought a home in Jamaica where he planned to create acommunity of black musicians.At a time when there were few hotels forAfrican Americans, many out-of-town musicians stayed with the Williams fam-ily; among them Willie the Lion Smith, Ma Rainey and Bessie Smith.LouisArmstrong probably got his first exposure to Queens visiting Williams. The word got around of how welcoming Queens was becoming andremained for black musicians.Armstrong wrote, not long before his death,about how much he treasured the home his wife, Lucille, had bought for him inCorona in 1943: Just think through the 29 years that we ve lived in this housewe have seen just about three generations come up on this particular block.Lots of them have grown up, married, had children, and they still come backand visit Aunt Lucille and Uncle Louis. And many of them went to the LouisArmstrong Elementary School and the Louis Armstrong Intermediate School inQueens.Another Queens resident at the time, trumpet player Clark Terry, told me thatArmstrong would occasionally invite Terry and other musicians to his home totell us the history of jazz. The greatly respected bassist Milt Hinton ( the Judge, his fellow musicianscalled him) spoke for many in that community of black jazz creators about the Jazz s History Is Living in Queens.135effect being together in Queens had on their lives. When I look back on it now,I realize what that house really meant to us.For the first time, Mona and I hadsomething that was ours.It was our security and some new roots. The roots continue to be fruitful.At the Flushing Council on Culture and theArts the curator of the past, and the generator of the future, of Queens jazzproducer Clyde Bullard has, for the past eight years, produced concerts with,among other jazz performers, Barry Harris, Marian McPartland, Dr.Billy Taylorand Randy Weston.His father, C.B.Bullard for twenty-seven years head of the jazz depart-ment at Atlantic Records founded the jazz program at the Flushing Council,along with Jo-Ann Jones and Cobi Narita.Recently, Clyde Bullard applied for aNational Endowment for the Arts grant to allow the creation of an 18-memberresident Town Hall Jazz Orchestra to be directed by Jimmy Heath, known to hispeers as the complete Jazzman [ Pobierz całość w formacie PDF ]