January 02, 2019

FRIDAY, MAR. 1, 2019 at 12:00 PM | LITTLE ROCK

A free-to-the-public panel discussion presented in collaboration with the National Park Service and Clinton School of Public Service will be held at Central High School National Historic Site. Featuring  Rufus Reid and Bobby LaVell, the panel will be moderated by composer Chris Parker. The goal is to facilitate discussion on the ongoing work of social equity in the United States from the perspectives of people living in different communities and what role music and the arts play in affecting change in our society today.

January 02, 2019

SUNDAY, MAR. 3, 2019 at 3:00 PM | LITTLE ROCK

A reprise performance of the No Tears Suite, written by jazz pianist Chris Parker and vocalist Kelley Hurt, with expanded symphonic arrangements written by and featuring Rufus Reid (bass); Brian Blade (drums); Bobby LaVell (tenor saxophone); Marc Franklin (trumpet); Chad Fowler (baritone and alto saxophone); and an Arkansas Symphony Orchestra chamber ensemble—conducted by ASO's Geoffrey Robson.

The No Tears Suite was written in honor of unity on the 60th anniversary of the Little Rock Central High School Crisis.

December 20, 2018

TUESDAY, APR. 16, 2019 at 7:00 PM | LITTLE ROCK

The Oxford American magazine is excited to welcome the University of Central Arkansas Jazz I Ensemble back to the South on Main stage, featuring soloist Dr. Patricia Poulter. This event is free and open to the public.

November 20, 2018

A Points South essay from the North Carolina Music Issue.

Shortly after publishing the biography John Coltrane: His Life and Music, Lewis Porter received a letter from a man who identified himself as a Coltrane. Only not, presumably, one related to the great jazz musician. His ancestors had been white farmers in North Carolina. “He said, ‘I’ve been looking into my family history,’” Porter recalled recently, “‘and I have here a bill of sale that could be interesting.’” 

May 03, 2018

SATURDAY, MAR. 2, 2019 at 8:00 PM | LITTLE ROCK

A reprise performance of the No Tears Suite, written by jazz pianist Chris Parker and vocalist Kelley Hurt, with expanded symphonic arrangements written by and featuring Rufus Reid (bass); Brian Blade (drums); Bobby LaVell (tenor saxophone); Marc Franklin (trumpet); Chad Fowler (baritone and alto saxophone); and an Arkansas Symphony Orchestra chamber ensemble—conducted by ASO's Geoffrey Robson.

The No Tears Suite was written in honor of unity on the 60th anniversary of the Little Rock Central High School Crisis.

May 03, 2018

THURSDAY, MAR. 14, 2019 at 8:00 PM | LITTLE ROCK

“This is a killer organ trio barrage that’s deep in the pocket. Bernstein, Goldings and Stewart have a natural feel for this music, laying down a groove that lets each soloist float across the tunes.”
DownBeat

November 21, 2017

An interview with Les McCann from the Kentucky Music Issue. 

All through high school the band teacher and I were very good friends. He received tickets to all the bands and brought me to concerts. I was in perfect heaven. I never said no to anything. And my mother was a fake opera singer. She’d listen to the opera every Sunday while she cleaned house and wooooo, oh my God, it was great! Everybody was into something. Right across the street from our house was the Elk’s Club, so every Friday, Saturday, and Sunday night you’d hear a beautiful organ trio playing. 

November 21, 2017

A Points South essay from the Kentucky Music Issue. 

The last time I heard Jimmy Raney play was at Bellarmine College in Louisville. To know that a master like Raney had gone deaf was to know that a Rembrandt was burning. He played alone because he could no longer hear well enough to play with others.

November 10, 2007

Celebrating the idiosyncratic genius of Thelonious Monk, born in Rocky Mount, North Carolina, on October 10, 1917.

In a remarkable 1963 appearance with Juilliard professor and friend, Hall Overton, at the New School in New York, Monk demonstrated his technique of “bending” or “curving” notes on the piano, the most rigidly tempered of instruments. He drawled notes like a human voice and blended them (playing notes C and C-sharp at the same time, for example) to create his own dialect. Overton told the audience, “That can’t be done on piano, but you just heard it.” He then explained that Monk achieved it by adjusting his finger pressure on the keys, the way baseball pitchers do to make a ball’s path bend, curve, or dip in flight.

September 05, 2017

The lounge’s changes reflect those of Trenton, which has been hit by deindustrialization, white flight, falling property values, a cratering tax base, budget cuts, and a drop in educational resources. There is probably a recovery formula for the rest of the city somewhere in the tiny fragment of an integrated, prospering populace that materializes for the Candlelight Saturday Sabbath with its transubstantiation of mouthpiece, breath, drum skin, string, and inner ear stereocilia into camaraderie.

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