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News Updates

  • Review: ‘Comin’ Home to Harlem’

    Posted on May 22nd, 2002 in Review

    Host Whoopi Goldberg recalled the tradition and legacy of the historic venue, “where jazz was made and loved, and where swingin’ is revered.” Goldberg contributed an abbreviated history of the Harlem Renaissance, and the innovations in jazz, blues and swing through the last half-century.   Keep reading »

  • Jazz for Young People Curriculum

    Posted on February 6th, 2002 in Education | 1

    Based on the popular concert series of the same name, this multimedia jazz appreciation curriculum is designed for upper elementary/middle school students and beyond. Perfect for music and non-music educators alike, the curriculum explores core concepts and major figures in jazz through accessible, interactive lessons that demonstrate the exuberant, rich cultural heritage and definitive musical elements inherent in jazz.   Keep reading »

  • Wynton Center

    Posted on December 24th, 2001 in Profiles & Interviews

    “Let the ass-whipping begin,” Wynton remarked, a bit of opening commentary as he walked onto the 65th Street project courts. Nothing personal, Wynton said; with him, ass-whipping need not be adversarial. It can be more a statement of loving engagement with the material at hand, be it Mahler, “East St. Louis Toodle-oo,” or a supposedly friendly game of one-on-one. Still, it was probably a mistake, snickering when the musician started in about his jumper, how sweet it was. Somehow it seemed unlikely, unfair, creepy even, that Wynton—only 40 but already into his second decade as the semi-officially anointed “most important musician of his generation,” the only jazzman ever to get a Pulitzer Prize (for his symphonic-size Blood on the Fields), winner of both jazz and classical Grammys on the same night, one of Time magazine’s “25 most influential Americans”—might be good at basketball too.   Keep reading »

  • Wynton’s commencement address at Connecticut College 2001

    Posted on May 26th, 2001 in Speech

    You know, I never write a speech because I feel that when you write something, you go long. But for this one, I wrote one, and if it goes long, I might just stop in the middle of it and start playing. Now, this is kind of new; I’ve never actually read one, so excuse me while I try to find my right, proper angle.   Keep reading »

  • UN Secretary-General salutes Wynton Marsalis, as he designates him ‘Messenger of Peace’

    Posted on March 23rd, 2001 in News

    I am delighted to join you in this great hall—which Wynton Marsalis has made the new home of jazz—to designate him as a United Nations Messenger of Peace. Wynton is recognized and respected the world over for his genius, his passion for excellence, his generosity of spirit and, of course, his wicked sense of humour. In a word, Wynton swings.   Keep reading »

  • Wynton Marsalis - Jazz ambassador

    Posted on June 20th, 2000 in Profiles & Interviews

    To refer to Wynton Marsalis as a jazz musician is to unintentionally diminish him. Certainly he plays jazz trumpet, has released a couple of dozen albums in the idiom, was the catalyst for and focal point of a renaissance of jazz in the 80s and is musical director for the prestigious Lincoln Center Jazz Orchestra in New York.   Keep reading »

  • Wynton Marsalis, Skain’s Domain - Review

    Posted on April 14th, 2000 in Books, Review

    At this point in time, Wynton Marsalis is a work in progress, a brilliant trumpeter who throughout his still-developing career has seemed to find controversy at every turn. When he first hit the national scene in 1980 with Art Blakey’s Jazz Messengers, the 18-year old was considered a phenomenon. Two years later he had gone out on his own and in 1983 he won Grammys in both jazz and classical music. The general news media was soon portraying Marsalis as the symbol of jazz, an up-and-coming master of the future. However others in the jazz world correctly pointed out that at the time the trumpeter lacked an original sound of his own, being too close to comfort to Miles Davis of the mid-1960’s. In addition, some of his statements in interviews seemed a bit arrogant, dismissing much of the music of the 1970’s, post-1965 avant-garde and fusion. Since then the pro and anti-Marsalis camps have only grown in intensity as he has continued to grow in stature, in recent times with the Lincoln Center Jazz Orchestra and with his Pulitzer Prize winning epic work Blood On The Fields.   Keep reading »

  • Wynton Marsalis: One Future, Two Views

    Posted on March 12th, 2000 in Profiles & Interviews

    The most accomplished and acclaimed jazz musician of his generation, Wynton Marsalis is also as outspoken as he is prolific. Through his own force of personality, intelligence and achievement, he has steadfastly worked to bring jazz back to the center stage in American culture. And he promises, in the new millennium, to “keep the pressure on.   Keep reading »

  • Marsalis Shows China That Jazz Isn’t Just a Word

    Posted on February 23rd, 2000 in Review

    In their first 48 hours of music making here, Wynton Marsalis and his Lincoln Center Jazz Orchestra put on two smooth performances before well-dressed audiences, two educational events for Chinese jazz colleagues and schoolchildren, and two smoking jam sessions with local musicians for a small, ravenous circle of fans.   Keep reading »

  • Wynton Marsalis and Stanley Crouch Discuss ‘Louis Armstrong at 100’ in Miller Theatre

    Posted on January 20th, 2000 in News

    Opening its inaugural “Jazz and American Culture” series for 2000 with a celebration of Louis Armstrong in his centennial year, the newly established Center for Jazz Studies will present a conversation about the jazz great’s legacy with acclaimed trumpeter Wynton Marsalis and critic Stanley Crouch on Tuesday, Feb. 1 at Miller Theatre. The program, “The Artistry of ‘Pops’: Louis Armstrong at 100,” will be moderated by Professor Robert O’Meally, a leading interpreter of the dynamics of jazz in American culture, editor of a seminal textbook for jazz studies and founder and director of The Center for Jazz Studies at Columbia.   Keep reading »