The Black Arts Movement is most commonly referred to as the artistic arm of the Black Power Movement. Although it has largely been referred to as a literary movement—due in large part to the impact of writers such as Amiri Baraka (LeRoi Jones), Larry Neal, and Nikki Giovanni—the movement’s goals were also advanced by musicians, painters, photographers and filmmakers. Aesthetically and philosophically the movement and its leaders sought to articulate and represent, through various forms of artistic expression, the diverse cultural and historical phenomenon that have shaped the African American experience. Its beginnings can be traced to the assassination of Malcolm X (El Hajj Malik El-Shabazz) in 1965. Jones and Neal, both black nationalists, called out to artists to join the black liberation movement and work toward creating a decidedly “black” art that would appeal both to the masses and those within the academy by drawing heavily from an Afrocentric cultural tradition. Many avant-garde jazz artists, including John Coltrane, Albert Ayler, and Archie Shepp, among others, embraced the tenets of the movement. A ...
Tammy L. Kernodle
The Center for Black Music Research (CBMR) was founded in 1983 at Columbia College Chicago by Samuel A. Floyd, Jr. Its mission has remained the same since its inception: to document, preserve, and promote the music of the African Diaspora. This mission is accomplished through publications, conferences and symposia, performances, research fellowships, and the Library and Archives, housing books and research collections.
The Center’s flagship publication, Black Music Research Journal (1980–), antedates Floyd’s move to Columbia College. The Center has also published Lenox Avenue (1995–1999), the scholarly journal for a grant-funded project which explored music’s role in the arts of the African Diaspora. Various newsletters, including Black Music Research Newsletter/CBMR Bulletin (1977–1990), and CBMR Digest (1990–) informed members about the Center’s activities. Kalinda! (1994–1997), Stop-Time (1998–2000), and Cariso! (2003–2006) were published for specific grant-funded projects. The Center’s publications also include a bibliographic and reference series consisting of five CBMR monographs, ...
Record label. It was owned by the East Wind Trade Associates company, founded in 1984 in Hartford, Connecticut, by Steve Boulay, Ted Everts, and David Barrick with the assistance of Gerald A. Friedman. Its catalogue was devoted to Russian jazz in styles ranging from bop to jazz-rock. (E. Schmitt: “3 in Hartford Importing Records of Russian Jazz,” ...
Record company. It was established by CBS in 1953 as a subsidiary of Columbia Records. Although from the start its issues included jazz and pop, Epic for many years was known primarily for its recordings of George Szell conducting the Cleveland Orchestra (including those made with a young Leon Fleisher as piano soloist). In the latter part of the 1950s, as rock and roll began to overtake the industry, the company struggled to find itself artistically and commercially, accumulating an odd assortment of American, Australian, and European performers representing a wide array of classical, jazz, and popular styles.
The label’s fortunes began to change in 1964 with its participation in the British Invasion. Epic distributed the American releases of the Dave Clark Five and the Yardbirds and later those of the Hollies and Donovan. The true turning point for the company was the signing in 1967 of Sly and the Family Stone, whose critical and financial success helped redefine the label as a youth-oriented powerhouse. The company expanded through the 1970s, achieving unimaginable heights in the 1980s with Michael Jackson’s mature solo work (...
Czech string quartet, founded 1999. Its line-up has remained constant since its foundation: David Pokorný and Vladimír Klánský on violins, Vladimír Kroupa on viola, and Vít Petrášek on cello. Although classical repertoire remains central to their professional lives, the Epoque Quartet is remarkable for the breadth and professionalism of its ‘crossover’ work. The quartet has performed with the leading artists of Czech popular music, arranged world music from various traditions (most recently with the clarinettist Irvin Venyš for their CD Irvin_Epoque), and given the premières of over 80 pieces, the style of which ranges from rock- and jazz-influenced music to contemporary art music, mostly by Czech composers including Jan Kučera, Petr Wajsar, Jan Dušek, Gabriela Vermelho, and others.
Their open-mindedness and long-standing interest in various musical fields allows them to perform stylistically in a way classically-trained ensembles often find problematic, particularly in terms of rhythm, feeling, and energy when performing jazz- and rock-influenced repertoire....
Gary W. Kennedy
Record company and label formed around 1989 in Freiburg, Germany, by Frank Kleinschmidt and Jürgen Schwab; it appears to have started recording operations in 1987, but its first issues began to appear only in early 1990. Featured artists include Chico Freeman, both as the leader of his own group, Brainstorm, and as a member of the group Roots (with Arthur Blythe, Sam Rivers, Nathan Davis, and Don Pullen, among others), as well as James “Blood” Ulmer, Buster Williams, and Urszula Dudziak. In the mid-1990s In + Out issued a 15-disc historical anthology (three boxed volumes of five CDs each) entitled ...
Record company and label. The company was founded in New York in 1976 by Irv (Irving) Kratka. A subsidiary of the MMO (Music Minus One) Music Group, Inc., it owned three labels, two of which were devoted to jazz. These were Classic Jazz (which should not be confused with the Swedish label Classic Jazz Masters) and Inner City. Although the company was concerned largely with reissuing material first made available by other companies in the USA, Japan (East Wind), and Europe (principally Enja), it also put out new recordings in early swing and bop styles on Classic Jazz and material ranging in style from bop to free jazz and jazz-rock. The company later became enmeshed in a legal dispute which ended its activities. Inner City should not be confused with a pop music label of the same name which was established in the late 1980s. (M. Segell: “Once More, Jazz is Big Business,” ...
Michael D. Worthy
Jazz division of Lincoln Center for the Performing Arts in New York. In 1987 Lincoln Center launched Classical Jazz, its first concert series devoted solely to jazz. In 1996 JALC became an autonomous jazz division with wynton Marsalis at the helm. Marsalis has continued to work as the artistic director of JALC and the music director of the Jazz at Lincoln Center Orchestra. This ensemble maintains an extensive repertoire of classic jazz works while continuing to commission and premiere new pieces. It tours extensively, frequently collaborating with guest artists, and participates in JALC programs, such as the annual Essentially Ellington High School Jazz Band Competition & Festival. JALC also maintains a busy schedule of concerts by visiting artists, lectures, and jazz education initiatives....