National Jazz Museum in Harlem April Schedule

The National Jazz Museum in Harlem invites you to join us this month as we explore the jazz world of Quincy Jones (including a concert of his music in Central Park); engage in in-depth discussions with musical icons Randy Weston and Charles Tolliver, and author Karen Chilton; experience the live guitar duo of Gene Bertoncini and Roni Ben-Hur; and investigate how Jazz and Freedom are intertwined yet represent an “unfinished emancipation.”
 
Plus, there’s a special event at Stanford University featuring the brilliant pianist Jonathan Batiste with a band of superb young musicians reflecting on the 50th anniversary of Miles Davis’s classic Kind of Blue recording session from 50 years ago.
 
Jazz is best experienced live, so whether it’s a discussion or live performance, we hope you’ll come and swing with us, and bring some friends along.

Tuesday, April 7, 2009

Jazz for Curious Listeners

The Jazz World of Quincy Jones: Early Days
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300 or register online

An impresario in the broadest and most creative sense of the word, Quincy Jones’ career has encompassed the roles of composer, record producer, artist, film producer, arranger, conductor, instrumentalist, TV producer, record company executive, magazine founder and multi-media entrepreneur. As a master inventor of musical hybrids, he has shuffled pop, soul, hip-hop, jazz, classical, African and Brazilian music into many dazzling fusions, traversing virtually every medium, including records, live performance, movies and television.

Quincy Jones was born on March 14, 1933, in Chicago and brought up in Seattle. While in junior high school, he began studying trumpet and sang in a gospel quartet at age 12. His musical studies continued at the prestigious Berklee College of Music in Boston, where he remained until the opportunity arose to tour with Lionel Hampton’s band as a trumpeter, arranger and sometime-pianist. He moved on to New York and the musical “big leagues” in 1951, where his reputation as an arranger grew. By the mid-50’s, he was arranging and recording for such diverse artists as Sarah Vaughan, Ray Charles, Count Basie, Duke Ellington, Big Maybelle, Dinah Washington, Cannonball Adderly and LeVern Baker.

When he became vice-president at Mercury Records in 1961, Quincy became the first high-level black executive of an established major record company. Toward the end of his association with the label, Quincy turned his attention to another musical area that had been closed to blacks–the world of film scores. In 1963, he started work on the music for Sidney Lumet’s The Pawnbroker and it was the first of his 33 major motion picture scores.

Tuesday, April 14, 2009

Jazz for Curious Listeners

Quintessence: THE NJMH All-Stars Play Quincy Jones
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300 or register online


Come join us at The Charles A. Dana Discovery Center at the Harlem Meer in Central Park to hear live music, as the National Jazz Museum in Harlem All-Stars play the music of Quincy Jones, the subject of this month's Jazz for Curious Listeners series.

Thursday, April 16, 2009                        

Harlem Speaks

Randy Weston, Pianist
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jazz and world-music pianist/composer Randy Weston boasts a range of musical influences. Born and raised in Brooklyn, New York, he later lived in Africa for many years, both playing and studying African music. The result of his lifelong work and his far-reaching adventures is a beautiful and balanced hybrid of classic American jazz and ancient African rhythms and tonalities.

Weston grew up in the Bedford-Stuyvesant section of Brooklyn, where his father, the owner of a soul food diner, emphasized to his son, "You are an African born in America." The elder Weston laid down a strict rule for Randy: Practice the piano at home each day or feel the edge of a ruler on your knuckles. When the now six-foot- eight Weston was in his early teens he was already six- feet-two-inches tall and eager to play basketball, but his father ensured that he did not stray too far from his piano. Passing along his vast knowledge of calypso, jazz, and blues on to his son, Weston's father frequently took him to see bandleader Duke Ellington at the Sonia Ballroom or Brooklyn Palace, as well as to Harlem to hear calypso. In addition, Weston's mother, who was from Virginia, exposed her young son to spirituals.

While Weston was a youngster in Brooklyn in the 1930s and 1940s, musicians Miles Davis, Max Roach, and George Russell all lived in the borough at one time or another, and each had stopped into the elder Weston's luncheonette for soul food. Weston felt steeped in the African American music community as a teenager; he especially made a point of seeing Coleman Hawkins perform whenever possible, and through Hawkins, was able to meet pianist Thelonious Monk. Weston spent many hours at home listening to Monk's recordings.

At the age of 14, Weston was taught by drummer Al Harewood (a fellow Harlem Speaks honoree) how to play a tune on the piano by ear; Weston was then able to imitate current releases by Ellington, Hawkins, and Count Basie. Weston used to go to the Atlantic Avenue section of Brooklyn to hear Arabic musicians play the oud, a type of lute. He told Down Beat's Fred Bouchard, "We were searching for new sounds. We'd get into quarter and eighth tones. But here was Monk doing it, with spirit power, with magic!... For me it was pure African piano." Besides Monk, Basie, Hawkins, and Ellington, jazz greats Nat King Cole and Art Tatum were also early influences for Weston.

Voted "new star pianist" in a 1955 Down Beat critics' poll, Weston spent most of the 1950s playing in clubs around New York City with Cecil Payne and Kenny Dorham. He also toured colleges with historian Marshall Stearns, who lectured while Weston and a few other musicians performed African, calypso, Dixieland, and bebop music. Weston wrote a string of popular songs, including "Saucer Eyes," "Pam's Waltz," "Little Niles," and his best-known tune, "Hi-Fly," which is about being six-foot-eight and looking at the ground. Among the 11 albums he released during the fifties were Cole Porter in a Modern Mood (1954), Randy Weston Trio (1955), Piano a La Mode (1957), and Little Niles (1958).

In 1960 Weston recorded Uhuru Africa with composer, arranger, and trombonist Melba Liston, and narration by writer Langston Hughes. The recording featured  African traditional styles with a jazz orchestra. Weston told Down Beat, "I developed a lot playing with African drummers: Candido, Chief Bey, Big Black, Olatunji."

Weston's first encounter with African musicians was in Lagos, Nigeria. The rhythms impressed themselves on Weston's psyche, and he eventually traveled and played in 18 African nations. In 1966 he visited 14 African countries while on a U.S. State Department tour. Finally deciding to settle in Tangiers, Morocco, he owned a nightclub there from 1968 until 1972. He then lived in Paris during the mid- to late 1970s, and his recordings—frequently licensed from European labels—appeared sporadically throughout the decade. He continued to perform in Africa, including at the 1977 Nigerian Festival, which attracted musicians from 60 different cultures.

The 1980s saw Weston receive recognition for his unique style of blending various cultures in his music. In 1982 the televsion special Randy Weston: A Legend in His Own Time was filmed for WGBH-TV in Boston. Randy Weston Week was declared in 1986 by the Brooklyn Borough President's Office and the Brooklyn Academy of Music in 1986. And, between 1987 and 1989, Weston was the subject of three documentary films: Jazz Entre Amigos, for Spanish television, Randy in Tangiers, for Spanish and French television, and African Rhythms, for WGBH-TV.

The early to mid-1990s were busy years for Weston, whose appearances included a tour with a Moroccan Gnawa group, a troupe of dancers and musicians traveling from Morocco to the Niger region. In 1992 the pianist released another album, Spirits of Our Ancestors, underscoring the African link between forms of modern-day American music and featuring musicians Melba Liston, Pharoah Sanders, Dizzy Gillespie, and Dewey Redman. Volcano Blues was released a year later and was followed by Weston's Monterey '66 in 1994. Two albums were cut in 1995, The Splendid Master Musicians of Morocco and Marrakesh: In the Cool of the Evening.

Weston's music reflects his diverse paths in life and his desire to interweave the past with the future, and traditional with new sounds. Like Morocco and Africa itself, his music sounds both mysterious and beautifully simple.

Saturday, April 18, 2009

Special Event
50 Years of Kind of Blue: A Live Jazz Laboratory
8:00pm
Location: Kresge Auditorium
(Stanford University, 537 Lomita Mall, Stanford, CA 9430 | get directions

$34 (Adult), $17 (Stanford Student) | 650-725-ARTS (2787) or order online

Widely considered the greatest jazz album of all time, Miles Davis’ 1959 Kind of Blue is a cornerstone of “modal jazz”—an approach in which songs are based on modal scales in lieu of chord progressions. The record is also a marvel of performance “in the moment”: trumpeter Davis unveiled the musical outlines and improvising instructions for each of Kind of Blue’s all-new songs in the recording studio to his now-iconic roster of musicians.
 
In this unique concert in collaboration with the National Jazz Museum in Harlem,pianist Jonathan Batiste leads a young band through this familiar territory with new and creative arrangements of the iconic pieces that made the album a classic.
 
Jonathan Batiste, music director/piano; Dominick Farinacci, trumpet; Dayna Stephens, saxophone; Vasko Dukovski, clarinet; DavidEwell, bass; and Darrell Green, drums
 
Generously supported by Abraham and Marian Sofaer. Presented in partnership with Stanford Jazz Workshop.

Tuesday, April 21, 2009

Jazz for Curious Listeners

The Jazz World of Quincy Jones: The Big Band Years
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300 or register online

 
In 1956, Quincy Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the U.S. State Department. Upon his return to the states, Jones  got a contract from ABC-Paramount Records and commenced his recording career as the leader of his own band.

He organized a tour of North America and Europe, and though the tour was a critical success, poor budget planning made it an economic disaster and the fallout left Jones in a financial crisis.

Though it didn't make sense economically, didn't make sense logistically, didn't provide ego satisfaction for star players, because of their love for Quincy, an exceptional group of musicians signed on for the tour, some of them literally traipsing all over Europe to find venues that could house them and bandstands that could squeeze them all in. There was never any problem finding audiences eager to hear what Quincy was thinking, or what musicians like Art Farmer, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones were blowing. And those who attend tonight’s Jazz for Curious Listeners session will discover just the same joy.

A 1956 date for an ABC-Paramount release was a masterpiece of arranging and band leading. You will hear Quincy creating his new sound in the 1959-60 studio recording that comprised Quincy's "The Birth of a Band" release and later sessions. In writing for the big band, Quincy concealed a great deal of harmonic and rhythmic complexity in his charts. He really was reinventing big band music for a new decade and a new generation of listeners. His pieces sounded youthful and vibrant, and could be technically demanding almost beyond belief; more the writing you'd expect a five-piece band to conquer, not one comprising 17 or 18 or 20 musicians. But his bands rose to the challenge, showing there is great swing in precision, and a way of creating excitement by playing both loose and tight at the same time.

Quoted in Musician magazine, Jones said about his ordeal, "We had the best jazz band in the planet, and yet we were literally starving. That's when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two." Irving Green, head of Mercury Records, got Jones back on his feet with a loan and a new job as the musical director of the company's New York division. In 1964, Jones was promoted to vice-president of the company, thus becoming the first African American to hold such a position.

One of his popular songs, "Soul Bossa Nova", was released in 1962 as a track on the album Big Band Bossa Nova, which was also released that year.

Thursday, April 23, 2009

Harlem Speaks

Charles Tolliver, Trumpeter
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Self-taught as an instrumentalist, composer and arranger, Charles Tolliver seems constitutionally averse to doing things the easy way. “I like to rumble,” he told Down Beat. “I take the most difficult routes for improvisation. It's easy to play a number of choruses effortlessly and never make a mistake, never break down. That's no fun. You need to get in hot water by trying something out right from the jump, get yourself out of that, and move on to the next chorus”.

Alto saxophonist Jackie McLean launched Tolliver's career in 1964 by hiring him as a sideman on his Blue Note album It's Time, used him on the subsequent albums Action and Jacknife, and made his composition “Right Now” the title track of a 1965 quartet date. As the '60s progressed Tolliver also appeared with Blue Note heavyweights Horace Silver (Serenade to A Soul Sister) and Andrew Hill (One For One, Dance With Death), as well as sessions for other labels with Max Roach, Booker Ervin, Gerald Wilson, and Gary Bartz. In 1969 he formed the innovative quartet Music Inc., which he documented on four albums for Strata-East.

Born in 1942 in Jacksonville, Florida, Tolliver moved to Harlem with his family at ten and to Brooklyn's Fort Greene neighborhood, then a musical hotbed, in 1958. He matriculated at Howard University as a pharmacy major, but the pull of music was too strong.

“If I could have brought my classroom from Howard University to New York with me while I was trying to get into the scene, I probably would have done both at the same time,” Tolliver says. “But I felt I was ready to try this thing, and there was no way to stay in Washington, D.C. and finish my studies. I was lucky to get in with Jackie McLean almost instantaneously when I got back to New York, so there was no need to go back to school”.

Adamant that “small group is my first love,” Tolliver cites Gillespie-Basie arranger Ernie Wilkins' arrangements for Sonny Rollins” 1958 album The Big Brass [Verve] as a formative big band influence. “I got hold of an arrangement from that record, and analyzed how Ernie Wilkins placed the horns and left the space to get a small group sound,” he relates. As the '60s progressed, Tolliver studied Thad Jones closely at his Monday night Village Vanguard sessions; during a sojourn to California around 1966, he played and recorded with harmony masters Gerald Wilson and Oliver Nelson.

After Tolliver and Stanley Cowell presented their early charts on the 1970 recording Music Inc. And Big Band, Max Roach commissioned Tolliver to write a long suite to be performed at the 1972 Montreux Festival. “That's when I started to really get into writing,” Tolliver recalls. “For both Stanley and I, the idea was to write for big band and keep the small group energy inside it somehow”.

Tolliver continued to evolve his concept through the '80s and '90s on various engagements as a soloist with European radio orchestras; after the 2003 rebirth of the big band, he resumed writing and arranging full force.

“Big band jazz is not about over-writing to the point where all these different sections are playing in different time signatures and all that nonsense,” Tolliver says. “It doesn't have to sound like you're writing for a symphony. After all, we are playing this so-called thing named jazz. Jazz is about theme, melody, call-and-response, counterpoint if you want, but not overly done--and always improvising. If you take away improvising and swing, then it seems to me that you are removing two of the prime elements that allow us to call ourselves jazz musicians. You know what jazz is because of the way the drummer plays. I take careful consideration in selecting the drummer, and anything I write will be drumcentric.”

Catch more of Tolliver’s strong views on music and jazz as well as discussion of his recent Town Hall concert in honor of Thelonious Monk’s famous performance there 50 years ago.

Friday, April 24, 2009

Harlem in the Himalayas

Gene Bertoncini and Roni Ben-Hur
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212.620.5000 ext. 344

Master guitarists Gene Bertoncini and Roni Ben-Hur's new CD Smile is the first in the Motéma Music’s new ‘Jazz Therapy’ series of charitable fund raising CDs produced in association with the Jazz Foundation of America. Jazz Therapy, Volume 1: Smile, will benefit the Dizzy Gillespie Memorial Fund at Englewood Hospital and Medical Center which, under the leadership of Dr. Frank Forte, has been responsible for providing millions of dollars of free care to jazz musicians.

Gene Bertoncini is one of the pre-eminent jazz guitarists active today. His fluid technique and lyricism have won him international praise and accolades as the "Segovia of jazz." An eloquent and versatile improviser, Mr. Bertoncini has been heard with an extraordinary range of jazz greats, including performances and recordings with Benny Goodman, Buddy Rich, Wayne Shorter, Hubert Laws, Paul Desmond among others, as well as such distinguished singers as Tony Bennett, Lena Horne, Nancy Wilson, Vic Damone, and Eydie Gorme. Bertoncini honed his professional chops as a member of the Tonight Show band during Johnny Carson's tenure, and he has worked with composers and arrangers such as Lalo Schifrin and Michael Legrand as well with the Metropolitan Opera Orchestra. In addition to an active performing and recording schedule, Gene teaches at the Eastman School of Music and William Paterson University. A New York City native, he graduated from the University of Notre Dame with a degree in architecture. According to the New Yorker magazine, "Bertoncini is an affecting, highly original guitarist how moves easily back and forth between classical and jazz guitar."

Respected internationally as one of the elite players jazz, Roni Ben-Hur has recorded six albums as a leader and has a key band member for such jazz luminaries as Barry Harris, Chris Anderson, Rufus Reid, Walter Booker, Jimmy Heath, Clark Terry, Slide Hampton and Etta Jones. His Mel-Bay instructional book, Talk Jazz Guitar, has established him as a top jazz guitar guru. Ben-Hur fell in love with jazz in his native land of Israel. Upon moving to New York City, his career quickly took root as he landed the cherry position of first-call guitarist for the legendary Barry Harris. His 1998 release Sofia's Butterfly earned him the title "Best New Artist" in the Jazziz Annual Reader's poll, and 2001’s bop-oriented Anna's Dance was selected by award-winning critic Gary Giddins as "One of The Best Jazz CD's of 2001." Ben-Hur's 2004 outing, Signature was a critical sensation that firmly established his singular voice as a composer and band leader and led to his new recording home, Motema Music, where he released Keepin’ it Open in 2007, to unanimous critical acclaim, initiated this new Jazz Therapy series and is working on plans for a variety of innovative releases in the coming years.

Saturday, April 25, 2009

Saturday Panels
The Unfinished Emancipation: Jazz and Freedom
10:00am – 4:00pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

In many ways, jazz and freedom are synonymous. Jazz improvisation relies on the structure of melodies and chord changes for the purpose of individual and group expression. “Freedom,” within the context of the United States, is an idea based on individual and group expression within the political and social framework of democratic ideals. Freedom without structure, however, is chaos that can descend into anarchy and anomie.

The history of the United States is a bittersweet tale where the founding of the country was based on emancipation from the bonds of mother-country England, yet with the tragic irony of enslavement of African-Americans and Jim Crow laws, the promise of emancipation from the fetters of birthright based on aristocracy and royal bloodlines became muddied by hypocrisy and greed.

Today’s panel discussion will confront the intersection of ideals and history, aspiration and disappointment, art and politics, and the role of jazz as a cultural response and reflection of the human desire for freedom in the 20th century and beyond.

Tuesday, April 28, 2009

Jazz for Curious Listeners

The Jazz World of Quincy Jones: Recent Projects
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300 or register online

In 1985, Quincy Jones co-produced Steven Spielberg’s adaptation of Alice Walker’s The Color Purple, which won eleven Oscar nominations, introduced Whoopi Goldberg and Oprah Winfrey to film audiences, and marked Quincy’s debut as a film producer.

In 1990, Quincy Jones formed Quincy Jones Entertainment (QJE), a co-venture with Time Warner, Inc. The new company, which Quincy served as CEO and chairman, had a broad ranging, multi-media agenda which encompassed programming for current and future technologies, including theatrical motion pictures and network, cable and syndicated television. QJE produced NBC Television’s Fresh Prince Of Bel Air (now in syndication), and UPN’s In The House and Fox Television’s Mad TV.  Quincy Jones, is also the publisher of VIBE, SPIN and Blaze magazines.

In January 1992, Quincy Jones executive produced the An American Reunion concert at Lincoln Memorial, an all-star concert and celebration that was the first official event of the presidential inaugural celebration and drew widespread acclaim as an HBO telecast.

On March 25, 1996, Quincy Jones, executive produced the most watched awards show in the world, the 68th Annual Academy Awards.  The show received widespread acclaim as one of the most memorable Academy Award shows in recent times.

In 1997, Quincy Jones formed the Quincy Jones Media Group.  QJMG’s feature film projects in development include such highly anticipated films as the adaptations of the Ralph Ellison novel Juneteeth, David Halberstam’s The Children for Home Box Office in association with producers Kathleen Kennedy and Frank Marshall, a bio-pic on the 19th century Russian poet Alexander Pushkin, Pimp and Seeds of Peace for Showtime, among others.  For television, QJMG is developing the sit-com The White Guy. QJMG is also active in live entertainment, direct response marketing, and cross-media projects for home entertainment and educational applications. Jones is currently collaborating with Leslie Bricusse on the libretto and songs for a Broadway play based on the life of Sammy Davis, Jr. and recently, along with Harvard University and MicroSoft, produced the complete encyclopedia of African and African-American culture, Encarta Africana.

As a record company executive, Quincy remains highly active in the recording field as the guiding force behind his own Qwest Records, which currently boasts such important artists as New Order, Tevin Campbell, Andre Crouch, Gregory Jefferson and Justin Warfield. New Order’s album, Substance earned Qwest a gold album in 1987. Tevin Campbell’s T.E.V.I.N was both a critical sensation and major commercial success, and the label’s release of the Boyz N The Hood soundtrack album was among the most successful soundtrack recordings of 1991. Qwest Records also released soundtrack albums from the major films Sarafina! and Malcolm X.

In 1994, Quincy Jones led a group of businessmen, including Hall of Fame football player Willie Davis, television producer Don Cornelius, television journalist Geraldo Rivera and businesswoman Sonia Gonsalves Salzman in the formation of Qwest Broadcasting, a minority controlled broadcasting company which purchased television stations in Atlanta and New Orleans for approximately $167 million, establishing it as one of the largest minority owned broadcasting companies in the United States.  Quincy served as chairman and CEO of Qwest Broadcasting.  In 1999, taking advantage of the rapid escalation of broadcast station values, Jones and his partners sold Qwest Broadcasting for a reported $270 million.

The laurels, awards and accolades have been innumerable: Quincy has won an Emmy Award for his score of the of the opening episode of the landmark TV miniseries, Roots, seven Oscar nominations, the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award, 27 Grammy Awards, and N.A.R.A.S.’ prestigious Trustees’ Award and The Grammy Living Legend Award. He is the all-time most nominated Grammy artist with a total of 79 Grammy nominations. In 1990, France recognized Quincy with its most distinguished title, the Legion d’ Honneur. He is also the recipient of the French Ministry of Culture’s Distinguished Arts and Letters Award. Quincy is the recipient of the Royal Swedish Academy of Music’s coveted Polar Music Prize, and the Republic of Italy’s Rudolph Valentino Award.  He is also the recipient of honorary doctorates from Howard University, the Berklee College of Music, Seattle University, Wesleyan University, Brandeis University, Loyola University (New Orleans), Clark Atlanta University, Claremont University’s Graduate School, the University of Connecticut, Harvard University, Tuskegee University, New York University, University of Miami and The American Film Institute.  Most recently, Jones was named a 2001 Kennedy Center Honoree, for his contributions to the cultural fabric of the United States of America.

In 1990, his life and career were chronicled in the critically acclaimed Warner Bros. film, Listen Up: The Lives of Quincy Jones, produced by Courtney Sale Ross, a film which helped illuminate not only Quincy’s life and spirit, but also revealed much about the development of the African American musical tradition.

In 2001, Quincy Jones added the title “Best Selling Author” to his list of accomplishments when his autobiography Q: The Autobiography of Quincy Jones entered the New York Times, Los Angeles Times and Wall Street Journal Best-Sellers lists. Released by Doubleday Publishing, the critically acclaimed biography retells Jones’ life story from his days as an impoverished youth on the Southside of Chicago through a massively impressive career in music, film and television where he worked beside legends such as Billie Holiday, Ray Charles, Dizzy Gillespie, Count Basie, Ella Fitzgerald and Michael Jackson, among many others.  In conjunction with the autobiography, Rhino Records released a 4-cd boxed set of Jones’ music, spanning his more than 5 decade career in the music business, entitled Q: The Musical Biography of Quincy Jones. The audio recording of the book earned Jones his 27th Grammy Award, in the Best Spoken Word Category, while the boxed set garnered him a 15th NAACP Image Award, in the category of Outstanding Jazz Artist.

In 2008, Insight Editions published his latest tome, The Complete Quincy Jones: My Journey & Passions, a coffee-table work of Jones’s photos, letters and memories from his personal collection.

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