jazz

Adam Schefkind has been selected to receive the 2015 Harrison D. Stalker Award from the Department of Biology in Arts & Sciences at Washington University in St. Louis.

Adam Schefkind, a biology major in Arts & Sciences with minors in public and jazz studies, says his two passions – medicine and music – both demand precision and creativity. Schefkind and his band will perform at Jazz at Holmes at 8 p.m. Thursday, Oct. 30. He is the first student to headline the venerable jazz series, according to his mentor William Lenihan, professor of the practice in music and director of jazz performance.

“Teaching Jazz as American Culture”Jazz is “America’s Music.” Established in the early 1900s, the music has remained popular for nearly a century, going through many variations. In the 1920s, jazz was “pop” music, but today it is often shunned by younger people in favor of today’s popular tunes — rap, rock and country. Can jazz, with its broad history and reputation for being “art” music, be relevant to youth today? The director of a summer jazz institute at Washington University in St. Louis hopes to show that jazz is not only relevant, but also essential. More…

Courtesy photoOliver LakeIn the mid- and late 1960s, the Black Arts Movement emerged as the aesthetic and spiritual corollary to the Black Power philosophy. In St. Louis, Black Artists’ Group (BAG), which flourished between 1968 and 1972, gave rise to a host of nationally recognized figures, including Oliver Lake, Julius Hemphill and Hamiet Bluiett of the World Saxophone Quartet. Today, this influential yet little-known collective is undergoing a resurgence of interest, with the reissue of rare BAG recordings on the Ikef, Quakebasket and Atavistic record labels; a new definitive history published by the Missouri Historical Society Press; and an upcoming sypmosium at Washington University in St. Louis.

Some of the country’s leading scholars of jazz and American culture will teach at Washington University’s National Endowment for the Humanities Summer Institute for High School Teachers July 4-29. “‘Teaching Jazz as American Culture’ will offer participants an exciting opportunity to learn about one of the most extraordinary art forms the United States has ever produced,” says Gerald L. Early, Ph.D., Washington University’s Merle Kling Professor of Modern Letters and director of the Summer Institute. “The instructors in the institute are among the most noted jazz scholars, writers and composers in the country,” says Early, “and the high school teachers’ exposure to this collection of expertise should be both enriching and inspiring.”

Legendary jazz guitarist Ralph Towner, perhaps best known as lead composer, guitarist and keyboardist for the acoustic jazz ensemble Oregon, will present a free solo concert at 8 p.m. Tuesday, Oct. 19, in Washington University’s Graham Chapel.

The institute’s goal will be to “offer teachers new and engaging ways to teach popular music as a humanities subject,” Gerald Early says.

EarlyGerald Early, Ph.D., the Merle Kling Professor of Modern Letters in the Department of English and director of the Center for the Humanities, both in Arts & Sciences, has received a $222,000 grant from the National Endowment for the Humanities’ Division of Education Programs. The grant will fund “Teaching Jazz as American Culture,” an NEH Summer Institute to be held at Washington University in 2005.

Ornette Coleman, inspiration for successful judging.Although United States laws attempt to safeguard the rights and interests of minorities, the subordination of socially disfavored groups persists in part because of informal structures and networks that have the effect of perpetuating social inequality. Christopher Bracey, an expert in the fields of American race relations and civil rights and associate professor of law at Washington University in St. Louis, says that judges must respond to these destructive patterns of social and economic stratification through their interpretation of the law, or successful judging. In his article, “Adjudication, Antisubordination, and the Jazz Connection” (Alabama Law Review, Vol. 54), Bracey says inspiration on how to realize democracy through judging can be found through the free jazz movement, more specifically, the work of Ornette Coleman.