The Jazz Culture
THE FACES OF JAZZ BRIAN McMILLEN PHOTOGRAPHS
Ahmad Jamal, Carla Bley, Cedar Walton, Barry Harris, Bill Evans The Jazz Culture, V. II:5
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Bob Dorough, Mal Waldron, Harold Mabern, Toshiko Akiyoshi, Bill Charlap, Benny Green, Tommy Flanagan, Gene Harris, Don Pullen
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Earl Hines and Teddy Wilson, Earl Hines, Horace Silver, Jaki Byard, Kenny Barron, Hank Jones, James Williams, Michele Rosewoman, McCoy Tyner, This is a retrospective ofphotographer Brian mcMillen. To buy a copy ofany photo, email him at: brianmcmillen@hotmail.com
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Red Garland, Monty Alexander, Herbie Hancock
Cameron Brown, George Mraz, Reggie Workman, Charlie Haden, Richard Davis, Ron Carter, Sam Rivers & Dave Holland,
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Tootie Heath, Billy Hart,Max Roach, Elvin Jones, Max Roach,, Eddie Marshall, Paul Motion, Tony Williams, Philly Joe Jones
Art, Dexter, exterior ofKeystone Corners, Max Gordon, Sphere, Toshiko Akiyoshi, Lew Tabackin Big Band, The Jazz Culture, V. II:5
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Art Farmer, Archie Shepp, Chet Baker, Arnett Cobb, Benny Golson, Branford Marlis w/Group, Clark Terry, Conte Candoli, Dexter Gordon, Dizzy Gillespie, Clifford Jordan, Frank Foster, George Colema, Flip Phillips,
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Harold Land, Herbie Mann, Hampton Hawes, Jackie McLean, James Moody, Johnny Griffin, Joe Henderson, Frank Morgan, Julius Hemphill, Lee Konitz, Lew Tabackin, Gerry Mulligan The Jazz Culture, V. II:5
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Zoot Sims,Eric Alexander, Phil Woods, Red Rodney, Woody Keystone, Sonny Rollins, Wayne Shorter, Stan Getz, below, Red Norvo, Bobby Hutcherson
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Joe Pass, Kenny Burrell, John Lee Hooker, Pat Metheny, Tal Farlow, Emily Remler
BRIAN McMILLEN A Jazz Photographer Int. with L. Hamanaka from California
For further info, email: brianmcmillen@hotmail.com
JC: What got you interested in photography? A: [I was] born in Wisconsin, [and] moved to the SF Bay Area as a baby, where I grew up. My friend was showing me photography and darkroom work about the time I really started go to hear live jazz, and the 2 interests inter-mingled naturally. I just followed both and learned organically, without much formal training. The Jazz Culture, V. II:5
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JC: Then when you started jazz photos and how this helped you augment the careers of so many artists. A: After a while, photos began to be used by musicians, music promoters & agents, magazines, newspapers and record companies. It wasn't a mad rush to get my photos, but enough to keep it interesting. And it was always gratifying to see my images published and out there. JC: Where you have had shows, been published in what periodicals, what are the nicest things that people have said about your photos. A: I exhibited at Keystone Korner, SF, and Sweet Basil club in NYC, Kimball's East near Berkeley CA alongside Herman Leonard and other great photographers. I met Herman there and later went to his home in SF and showed him more of my work, and also he showed me some things from his files. I also saw the 2 Speed Graphic cameras he had used to take many of his classic and iconic Jazz images -- quite a thrill! I have had many other exhibits in SF and also at Kuumbwa Jazz Center in Santa Cruz CA, a wonderful and long-running club founded and run by Tim Jackson, now also general manager of the Monterey Jazz Festival. I lived at Bach Dancing & Dynamite Society, Half Moon Bay CA - a beach house with concert room overlooking the Pacific. They have a 9' Steinway concert grand. I was house photographer there for about 10 years, and my photos are still hanging there. I honestly can think of what people have said about my photos, but I just want them to actively look at and enjoy them, and find something in them that resonates with themselves. Mr. McMillen's influences include photographers Giuseppi Pino, Veryl Oakland, William Claxton, Roy Carava, Chuck Stewart, William Gottlieb, and Raymond Ross. His work has appeared on a lot of cd and album covers, including Bill Evans. His subjects and the size of the reproduction do not reflect the opinions of JCN. 10
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Anita O'Day, Betty Carter, Carmen McCrae, Flora Purim, Eddie Jefferson, Jon Hendricks, Jackie & Roy, Mel Torme, Nancy Wilson, Mark Murphy, Sheila Jordan
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HOW TO BECOME SUCCESSFUL IN THE BUSINESS OF JAZZ MUSIC Int. with Ray Blue, Freelance Musician with L. Hamanaka
RB: I will begin this correspondence by reflecting on my thoughts about the questions. All musicians/artists need to have a stong belief in themselves. We must be willing to self-promote our craft and invest in ourselves first before we can expect someone else to invest in or believe us. JC: Please describe your routine, from finding a possible venue, to calling, to visiting, to leaving your card (would you mind describing the contents of your press pack) and follow up. RB: I follow the publications that list jazz venues, earn where musicians are playing and go to jam sessions. Make phone calls to the venue, always have cards available, visit the venue and meet the owner or booking person. Have your press kit prepared in electronic form: Bio, Professional Photo, Press Statements and Music Sample. Make sure that your press kit infomration is done professionally. For follow-up, call and or return to the venue and get a determation from the booking person. JC: I think I met you once long ago. Please describe how your history and the importance of having a network of people who tell you things to learning of new leads. RB: ... we did meet some years ago, before I moved to Europe. Having a network of both musicians and non-musicians is 12
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important. Maintain a dialouge with people you meet, every relationship is important. Other people frequently have information that can be helpful with regards to leads about venues. JC: How much time do you spend a day or a week doing business?
In These Pages Brian McMillen1�1 2 Photo Retrospective
Ray Blue: the Business of Music 1 2-1 6
Ad for Roma Jazz Workshop 1 6
September Listings 17
RB: I spend about 2-3 hours per day doing some aspect of the business. JC: Do you draw up contracts? or does it depend on the place? RB: Written contracts are necessasry but not always essential. Some venues such as most small clubs generally employ verbal contracts, which are valid and most club owners will honor their word. For those who don't, just use your best judgement as to how you will handle. Written contracts, your own or one provided, are the best and are usually employed when there is significant money or conditions involved. If there are any parts fo the contract that are not clear, have it reviewed by a legal person before signing. JC: How much depends on follow up? RB: Follow-up is essential. If we miss this aspect then none of the information that is collected will have any worth or value. You destroy your credibility with the contact person. Therefore, you've done the ground work for nothing. JC: What do you think of agents and managers? RB: With regards to agents and managers: Again, it is about the quality and nature of the relationship. You have to bring something to the table. Agents and managers are not going to discover you or The Jazz Culture, V. II:5
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make you a star. There needs to be partnership that usually begins with the artist building his or her reputation, fan base and consistant work record. With this on the way, there is something to bring to the table and it will indicate that you have at least an understanding of how the business works and what Ray Blue you want. Agents and managers are there to help move your career along but there is no guarantee that it will work. Be mindful and stay aware or involved with the process at all times. JC: What spiritual advice would you give to people who are just starting, the proper attitude, etc. RB: As for spirituality, pray!!! One must be centered, focused and have an ethical foundation to guide your life and to handle the difficulties of the business. There has to be a balance between, business, personal and spiritual life. Create a vision, a plan and a strategy. Be persistant and do not be a follower. In closing: We do this because we have a gift, a callng and definately a passion. Respect the gift and work hard at attaining your goals. If it were easy, anyone could do it. Acknowledge the traditon and those who came before us. Put on blinders, stay positive, respect yourself and others and surround yourself with people who share good information. The key word is share, which implies a mutual relationship. Ray Blue can be found on the Internet and at a number of jazz venues here in the tristate area and in Europe. 14
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Brian McMillen & Tom Copi, Photographers
Publisher's Note:
The Jazz Culture Newsletter believes it takes a Village for jazz to thrive. A worldwide jazz community exists in every country on the planet. Musicians, singers, dancers, club owners, managers, choreographers, composers, arrangers, copyists, publishers, record companies, college music departments, public relations, magazines, newspapers, photographers, artists, writers, journalists, listeners, fans, festival participants, foundation people, and family. People of every class, race, religious, atheist or agnostic, people of all ages and politics are jazz lovers, millions of them. To build jazz's future, we should know about each other’s work, and the happiness can become exponential, with the greatest diplomats being people like Louis Armstrong, Duke Ellington, Count Basie, and many people yet unborn. Any comments on Brian McMillen’s work, or Ray Blue’s educational “How To” direct to: info@thejazzculture.com The Jazz Culture, V. II:5
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BARRY HARRIS JAZZ WORKSHOP IN ROME Mon 23 to Fri 27 Sept 2013 Felt Music Club & School via degli Ausoni 84, Rome BARRY HARRIS (www.barryharris.com) BARRY HARRIS IS ONE OF THE WORLD’S MOST RESPECTED JAZZ PIANO PLAYERS AND TEACHERS, CONSIDERED BY MANY TO BE THE FOREMOST INTERPRETER OF THE MUSIC OF BUD POWELL, TADD DAMERON AND THELONIOUS MONK. FOR MORE THAN HALF A CENTURY, HARRIS HAS PLAYED WITH THE GIANTS OF JAZZ INCLUDING DIZZY GILLESPIE, MILES DAVIS, DEXTER GORDON, CANNONBAL ADDERLEY AND COLEMAN HAWKINS, TRAVELLING THE WORLD OVER AS AN AMBASSADOR OF JAZZ INFO AND REGISTRATION:ASS. CULT. ROMA JAZZ WORKSHOP annapantuso@hotmail.com +39 339 3383139 lucianofabris@hotmail.com +39 328 6748724
FIVE DAYS MASTERCLASS FOR ALL MUSICIANS/SINGERS Schedule: Piano and guitar 11:00 – 13:00 Singers 14:30 – 16:30 Horns & General Workshop 16:30 – 18:30 On Friday 27 classes last 1 hour and a half. Fees: 160 € for the entire week /40 € for daily seminar Accomodation: b and b and private apartments for rent BARRY HARRIS TRIO CONCERT FRIDAY 27 SEPTEMBER 9:30 pm Felt club/Admission: 15 € Monday to Thursday every night JAM SESSION
September Listings The Jazz Culture Newsletter Listings are according to artist,not venue. Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m.
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George Gee Orchestra at Swing 46, (346 W. 46 Street bet. 8th/9th Ave.) Tuesday 9:30‐free dance lesson beforehand. Joe Magnarelli Japan tour, September 20, Magnarelli Quintet feat. Jerry Weldon, Unitarian Church, Schenectedy; Sept 22, Smalls Jim Malloy, Swing 46, 9:30 p.m. September 5, 12, 19 and 26. John Mosca & Michael Weiss: Vanguard Orchestra Every Monday night at the Village Vanguard Valery Pomoronov Orchestra- Zinc, September 3, 9:00
p.m.
Rick Stone: September 4th, 8‐11pm: Sol Yaged (clarinet), Rick Stone (guitar) at Grata Restaurant & Wine Bar, 1076 1st Ave New York, NY 10022, (212) 842‐0007, http://www.gratanyc.com/ September 19th, 6‐10pm: Rick Stone Trio, the Garage, 99 7th Avenue South (at Christopher Street) Michael Weiss Trio‐ September 25 & 26 with Mike Karn and Jimmy Wormworth/MEASURE at LANGHAM PLACE 400 Fifth Avenue, NY, NY Ray Blue‐White Plains Jazz Festival September 8, Pro Am Ensemble Sept. 2 & 10 ‐with Ray Abrams Big Band at Swing 46 Sept.9‐‐with Cecilia Coleman Big Band at the Bahai Center Sept. 15‐Peekskill Presbyterian Church, NY Sept.27‐ in Apex Jazz Festival, North Carolina ENGLAND: John Watson Trio at the Palm Court, the Langham Hotel, London, 1c Portland, Regent Street 207‐636‐1000 every weekend John Watson/Joe Leader at The Haven, playing Stevie Wonder,George Benson and John Watson Bill Withers plus some John and Joe originals. Doors open at 7.30pm ‐ £55 all inclusive (three course meal with wine) or £20 a ticket to watch the show (2 sets). To make a booking call: 020 8445 7419 or email: jazz@haven‐bistro.co.uk
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Some of the ARTISTS in Jazz Cultural Newsletter
Kenney Gates, Patience Higgins, Edward Ellington, Lafayette Harris, John Watson, Jimmy Heath. Larry Ham, M. McGowan, Michael Weiss, Johnny O'Neal, Joe Magnarelli, Rick Stone-artists in JCN The Jazz Culture Newsletter has grown to be read in 48 countries. The mission of The Jazz Culture Newsletter is to draw the jazz world community together. Subscribe free on the Home Page. info@thejazzculture.com Lionelle Hamanaka, Publisher
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