Interviews
Category

  • Composer Cole Porter | Teen Jazz Legend

    Best know for his work as an American composer and songwriter, pianist Cole Porter led a life filled with both scandal and luxury amidst his successful career as a musician.

    Born into a wealthy family on June 9, 1891, Cole was doted on by his mother. He began the violin at 6 and the piano at 8, and even wrote his first operetta at the age of 10. He attended Yale University in 1909 where he majored in English, minored in music and studied French.

    While a student at Yale, Porter wrote over 300 songs and joined the Glee club as well as several other music clubs. He also composed the music for several comedy skits put on by his fraternity brothers, preparing him for his future career in Broadway.

    Upon graduating from Yale, Cole Porter enrolled at Harvard Law School in 1913 but it was not long before he switched to the music program under the suggestion of the dean.

    His first Broadway tune appeared in the revue “Hands Up” in 1915. It was quickly followed by his first Broadway production which was a failure compared to the success of his debut, closing after only 15 shows. It was the first of many failures for Cole Porter.

    In 1917, after a move to Paris and his marriage in 1923, Porter finally ended his streak of failed works with the success of “(Let’s Do It) Let’s Fall in Love”. His next work, Fifty Million Frenchmen (1929) was also a success and established Porter as a talented lyricist and musician.

    The 1930s saw the addition of many more successful titles to Cole’s repertoire including “Night and Day,” “I Get a Kick Out of You,” and more. In 1937, he was involved in a riding accident and lost one of his legs. He would live in constant pain for the rest of his life. Although this led to Porter withdrawing from his previously extravagant social life, it did not hinder his success as a composer.

    After the passing of his wife in 1954, Porter suffered the loss of his other leg. In 1958 he stopped composing entirely and withdrew into seclusion for the remainder of his life. He passed away due to kidney failure on October 15, 1964 at the age of 73.

    Throughout his career, Porter wrote more than 800 songs. His production “Kiss Me Kate” was the first to win a Tony Award for the category of “best musical”.

    February 25, 2015 • Interviews • Views: 895

  • Saxophonist Adrian Crutchfield

    Hey all, I wanted to take a moment to introduce you to a fellow up and coming saxophonist, Mr. Adrian Crutchfield. I had the pleasure of meeting Adrian at NAMM a couple years back. He was hanging out at the Antigua Saxophones booth and introduced himself when I stopped by. I later got to know him and his playing better at the BG France/Legere/Theo Wanne artist jam and he’s definitely an artist you should check out. His vibrant and outgoing personality is something that definitely carries over into his music and has certainly played a huge part in his success as an artist.

    We hope you enjoy reading through our interview with Adrian Crutchfield below.

    The Interview

    When did you first begin seriously studying your instrument?

    I started playing Sax in school in the 5th grade.

    Who are your greatest influences? Who did you study with?

    My greatest influences are anyone I spend time making music with. There are too many to name, and they’re ALL great! I learn from each and everyone of them.

    Saxophonist Adrian Crutchfield

    Located Worldwide

    • Saxophone, Flute, Ewi, Music Production
    • Years Playing: 15 years professionally
    • School/Major/Degree: Florida State University – Jazz Studies, Contemporary Media, and Commercial Music

    Teen Jazz Artist Badge

    [What’s this?]

    Who or what gave you the confidence to pursue music as a career?

    Kenny G gave me a horn when I was 4 years old. After that, everyone said I’d be a performer of some sort. I didn’t take it seriously until middle school, when i realized 2 things -I could make money doing something i love AND girls love musicians!

    What are your thoughts on what it takes to be successful as a performer? Do you think any other skills are needed aside from the ability to play your instrument well?

    To be a successful performer it takes way more than raw talent or ability. A successful performer is well rounded. They are confident but NOT arrogant! Successful performers play to their audience and not just to themselves. Also, a successful performer knows how to play their role and compliment the other members of an ensemble. I could go on for hours about what makes a successful performer.

    What are some of the things you did before your career as a performer became as successful as it is today?

    I played at EVERY jam session I could get into. I made as many musical friends as I could. I just wanted to be playing, no matter the style of music or the crowd. At one point I was a member of EVERY major band in my city.

    What are some of your goals musically for the future?

    My goals are simple… 1. to be remembered, to make an impact…. 2. to provide a comfortable living for my family… and 3. to show the generations that watch me that you can be successful at ANYTHING if you approach it with respect.

    What inspires you to continue to pursue music? Have you ever come close to giving up and if you did, how did you overcome it?

    What inspires me to pursue music is passion plain and simple. Music is a part of me and the satisfaction i get from performing and creating with other people can’t be compared to anything else… If i couldn’t do this, I would die. Art is Passion!

    What are some of the things you enjoy most about your career as a performer/recording artist?

    What I enjoy most about my career is the traveling and meeting new people.

    Do you write music? Where do you get your inspiration?

    I write music, my inspiration comes from life, stress, love, friends, family, anything!

    What was your lamest gig and how did you learn from it? What was the best?

    We all have gigs that we would rather not do. But I don’t know that I would call it lame. Any opportunity to play music is GREAT! I’ve had my share of not so awesome gigs, but I can’t think of one in particular at the moment.

    Hobbies other than Music:

    I have a slight addiction to video games and cartoons. What can I say, I refuse to grow up.

    What would your advice be for an up and coming, young musician?

    Stay hungry and humble! Always be thankful for opportunities but never get comfortable! Always be on the lookout for the next accomplishment!

    Endorsements:

    Antigua Saxophones
    Theo Wanne Mouthpieces
    Legere Reeds
    Gator Cases
    Akai EWI

    Where can we find more information?

    www.ILOVEGOODSAX.com

    New releases and projects coming up:

    Currently I’m working on my 2nd full length Album… stay tuned to my website for more! Note from Shannon: You can check out his debut album Private Party on Amazon.


     

    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    February 16, 2015 • Interviews • Views: 1017

  • Saxophonist Greg Chambers Interview

    Name: G​reg Chambers
    Location: S​an Francisco, CA
    Profession: S​axophonist and Music Teacher
    Years Playing: 2​0
    School/Major/Degree: U​CLA, Master of Music in Saxophone

    When did you first begin seriously studying your instrument?

    I began really listening to jazz, practicing regularly, and taking lessons when I was 14 years old. In middle school, I rotated between first and second chair in the band depending on the results of each seating test, but I didn’t practice regularly or often (I still don’t even know how I ended up sitting in those chairs!). It wasn’t really until high school and getting the rejection letter from the honor band I tried out for during my freshman year that I really decided to dedicate myself and put an honest effort into practicing and studying.

    Who are your greatest influences? Who did you study with?

    I like to say I “studied” with Charlie Parker, Grover Washington, Gerald Albright and Warren Hill. I used to put on CDs of theirs and play alongside them for hours during my teenage years. I’d learn tunes out of the Omnibook and work them up to full speed with the recordings and, for the other saxophonists, would find transcriptions (or try to create them myself) for the tunes I wanted to learn. I grew up in Gilroy, which is a really small town in northern CA. I would drive to Santa Cruz to take actual lessons with Bill Trimble, who was one of the most respected classical saxophonists in the Bay Area and certainly the reason I developed a love for classical saxophone. I did take a couple jazz lessons with a local pro names Les Pierce as well (who was the saxophonist for just about every rock, blues, country, oldies, or Top 40 band in the South Bay), although it wasn’t until college and the experience of being in Los Angeles that I really had the chance to explore the jazz scene and also take some lessons with one of my idols­ Eric Marienthal.

    Who or what gave you the confidence to pursue music as a career?

    I believe that my parents, as well as my college saxophone teacher (Doug Masek), were certainly the most supportive and important people in terms of this decision. My parents were both part-­time musicians and understood the struggles of being a performer­ the hours and lifestyle, amount of dedication and personal entrepreneurial skills needed, etc. They had always encouraged me to make a living by combining performing and teaching (which they had done for many years out of college and most of the professional musicians they associated with had also done). I do believe it was my college teacher and the environment at UCLA that encouraged me to take lots of risks in my classical career­ I was lucky enough to audition and win orchestral stints with the Aspen Music Festival, New World Symphony in Miami, and Spoleto Festival in South Carolina. I definitely believe that the confidence I gained participating in these ensembles enabled me to apply that same risky spirit to my jazz career.

    What are your thoughts on what it takes to be successful as a performer?​D​o you think any other skills are needed aside from the ability to play ​y​our instrument well?

    Absolutely! There are a thousands of great saxophonists out there­ I do freelance in the Bay Area and work with some amazing players all the time. Also, being that you and I just returned from NAMM, we’re very aware of how many incredible and proficient sax players attend the convention to try out instruments and be heard­ many of whom don’t have household names. I believe that a lot of things contribute to becoming a successful performer­ branding, image, marketing/promotion, the ability to connect with an audience, and the ability to have your own “voice” (on your instrument, in your songwriting, and as a person).

    What are some of the things you did before your career as a performer ​b​ecame as successful as it is today?

    I’ve done everything from being a busboy at a Sushi restaurant to working at a theme park to working for a Police Station in their records department. In college, I worked for UCLA Live ushering and assistant house managing at the concert hall­ the great thing was I was actually getting paid to see all the shows! I lived in London for half a year as well and worked on a student visa. I ended up working for a catering company at the Natural History Museum and played saxophone at a nightclub with a DJ on weekends (usually from midnight until ­3am). After grad school, I took a job working for Mission Bell Manufacturing, which built specialty cabinets and did custom projects for companies all over the Bay Area­ had it not been for the economic crash in 2008 which prompted layoffs, I might not have been forced back into music full­-time.

    What are some of your goals musically for the future?

    I am very pleased and grateful for how everything is unfolding with this latest album. As far as the immediate future, I certainly want to tour, entertain and connect with new audiences, and promote this music as much as possible over the next year or two! At some point, I do look forward to getting to work on another album and certainly want to collaborate with some new friends/artists as well as continue working with many of the people I have thus far. I do love the creative process of writing, recording, building and layering parts, and exchanging ideas with other creative instrumentalists.

    What inspires you to continue to pursue music? Have you ever come close​ t​o ​g​iving up and if you did, how did you overcome it?

    Absolutely­ there are so many times where you feel like you just keep hitting the same roadblocks or just feel like can’t get ahead or that things are stagnant! For me, playing shows and hearing from fans about how much they love my music or how they discovered my music on Pandora or Music Choice or radio always reminds me of the fact that my reason for making music isn’t about personal success­ it’s about creating music that others enjoy and about putting the creative ideas I have to disc. I’ve taken time off from writing/recording every now and again, and always find that I’m drawn to starting another project at some point. It must be encoded in my DNA or something!

    What are some of the things you enjoy most about your career as a ​performer/recording artist?

    As a performer, I enjoy seeing people get up to dance, or smile and do the side­-to-­side neck bob, or put their head down and clap along, or just close their eyes and listen. For me, it’s about connecting with people and bringing them into the experience. I absolutely love chatting with people after the show. As a recording artist, I most enjoy the creative process of building drum patterns with sampled sounds and scratch tracks for other parts, writing and recording sax lines, and working with other instrumentalists­ it’s always exciting to see what other people come up with. Sometimes it’s exactly what you were thinking and other times it’s something better than you could have ever thought of!

    Do you write music? Where do you get your inspiration?

    I do­ it always varies. Sometimes I just get an idea for a tune in my head. On the title track of this CD, “Can’t Help Myself”, the keyboard figure and melody lines for basically the whole song came to me on a drive home from a day of teaching sax lessons. I got home and, within 30 or 45 min, had most of the tune committed to recording. Other times, I’ll build a tune up from a drum pattern I create. On “Come A Little Closer”, I started with the kick, snare, and thought up a sandpaper part (in place of a shaker or cabasa), and then sketched out some Fender Rhodes parts before passing it off to Matt Godina to get some input. On “Wait Awhile”, the bass line (played on an EWI) came first and was the grounding for everything else in the song. I listen to everything from smooth jazz to classical music (my wife is an orchestral clarinetist) to R&B so it seems like ideas come from anywhere and everywhere.
    KMPH FOX 26 | Central San Joaquin Valley News Source

    What was your lamest gig and how did you learn from it? What was the ​b​est?

    I’ve played on some pretty bad gigs in my time­ from sketchy bars to nightclubs to jazz quartet gigs where you are more or less expected to be “musical wallpaper” (although I still do weddings and corporate events from time to time, since the pay is usually hard to pass up). I will say that I’ve learned that my true passion isn’t playing background music for events or restaurants. I have definitely also learned not to play in places where the environment or ambiance isn’t appropriate for jazz. I don’t know if I could pinpoint a single best gig. I feel immense satisfaction every time I get the chance to perform my own music and feel the same excitement, enthusiasm, and connection with the audience at every show.

    Where can we find more information?

    My website is gregchambersmusic.com and I try to keep it as updated as possible­ for all the info on new releases and concert schedule, I’d suggest joining the mailing list on the homepage (I try to send 4­5 emails per year to keep people in the know). I am on Facebook as well with both a personal and an artist page.

    New releases and projects coming up

    Nothing yet since “Can’t Help Myself” just came out. I do have some ideas on paper (and some scratch recordings in Logic) already for the next project, but it’ll definitely be a while.

     

    February 9, 2015 • Interviews • Views: 1659

  • Vocalist Olivia Castle | Teen Jazz Artist

    Why did you begin studying music?

    I have always sung from a young age and first started attending singing lessons aged 13. I was a Choral singer for my teenage years, performing as finalist for the BBC Radio 2 Chorister of the Year competition held in St Paul’s Cathedral (London). I even intended to enter the Musical Theatre profession for a while. Therefore I only decided to pursue a career in Jazz when I was a little older, aged 18, and it is then that I started my training in the genre.

    Vocalist Olivia Castle

    Located in the UK

    • Jazz Vocalist
    • Years Playing: 9 years
    • School/Major/Degree: First Class Honours Degree in Theatre Studies from Royal Holloway, University of London

    Teen Jazz Artist Badge

    [What’s this?]

    Who are some of your influences? Who have you studied with?

    My greatest musical influences in the current music industry are Michael Buble, Jamie Cullum, Jane Monheit, John Mayer and many others. However I have a particular fondness for classic Jazz artists who are no longer with us; Ella Fitzgerald, Nat King Cole, Sarah Vaughan, Sammy Davis Jr and Frank Sinatra to name a few. I learnt the skills of the genre under the expertise of Jazz pianist Laurie Holloway (MBE) who accompanied me on my debut album, Siren Song.

    Who or what gave you the confidence to pursue music as a career?

    I attended a summer course led by the Montgomery Holloway Music Trust and worked with esteemed professionals in the world of Jazz recording and performance. It was these individuals, the overall experience and the continued support of Laurie Holloway that encouraged me to pursue a professional career within the genre.

    What are your thoughts on what it takes to be successful as a performer? Do you think any other skills are needed aside from the ability to play your instrument well?

    Of course musical ability is key to achieving success in the music industry however I definitely feel there are other qualities that are essential. Being humble and open to working with other people and valuing their ideas will always make you nicer to work with. Being gracious when receiving input from others can be incredibly valuable as you never know how they will be able to help you improve your performance- as artists we should always be learning. I also think stage presence and etiquette are very important and for a singer that means trying not to use music, engaging with your audience, microphone technique and thanking your band properly.

    What are some of the things you did before your career as a performer became as successful as it is today?

    During my years as a Choral singer I was a runner up in the BBC Radio 2 Chorister of the Year final, performing to a panel of judges which included Hayley Westenra, and an audience of 1500 in addition to radio listeners. I was also part of the National Youth Choir of Great Britain which meant I performed for the BBC Proms at the Royal Albert Hall with greats like Daniel Barenboim and Gustavo Dudamel for two consecutive years. In 2011 I was also awarded the Diploma in Musical Theatre (dipGSA) from the Guildford School of Acting and completed my Grade 8 in Singing. Finally I was a Choral Scholar for a little while at Royal Holloway University.
    Aside from those great experiences I have been gigging and performing to get as much experience as I possibly can, which includes taking part in theatrical shows. When I was 17 I played Dorothy in a production of The Wizard of Oz, which is where I first met the celebrated composer Denis King. This experience remains special to me and is a significant reason why Over the Rainbow features on my first album, Siren Song.

    What are some of your goals musically for the future?

    My long-term aim is to become an established recording artist. I treasure the process of putting together an album; choosing tracks, making arrangements, the meticulous recording procedure and then being able to distribute your sound around the world. I think it is a great joy of the modern era that creativity can be so easily shared nowadays.
    Through doing this I would love to bring Jazz back to a contemporary mainstream audience. I believe the genre has so much to offer and definitely deserves a more prominent place in the current music industry. I am a big fan of crossover Jazz artists and I think this approach is a great way to make the genre accessible for a wider listening audience.

    What inspires you to continue to pursue music? Have you ever come close to giving up and if you did, how did you overcome it?

    The happiness I derive from music, singing in particular, is what keeps me going. However, although getting personal satisfaction is very important, it is also the enjoyment of an audience or a listener that is rewarding. Singing is something I absolutely love to do, more than anything in the world, and so in my opinion, you only live once and should use this precious life to do something you really enjoy.
    Since embarking on a career as a professional singer I have fortunately not been in a situation where I want to stop yet. However I was definitely dubious about starting such an unpredictable venture. It was the interest from a London music producer that gave me the confidence and the belief in myself that I could achieve my dream.

    What are some of the things you enjoy most about your career as a performer/recording artist?

    I love meeting and working with other talented musicians; it is amazing what you can create musically when you pool resources and individual ability. I also like the adrenaline rush of performing live and the accompanying delight in making an audience smile as a result of singing. It doesn’t get better than that.

    Do you write music? Where do you get your inspiration?

    I have not written any of my own repertoire yet but I have a great young Jazz pianist I am collaborating with soon and we intend to attempt writing some songs.

    What was your lamest gig and how did you learn from it? What was the best?

    I’m not sure I have ever had gigs that have completely flopped but I have no doubt that will come- it is a rite of passage for every performer. I have performed Jazz music in a couple of churches and as you can imagine, with large English stone churches, it didn’t sound right at all. My best gigs are always when I perform with Laurie Holloway and his trio. It is such a thrill to work with someone so breathtakingly talented.

    Hobbies other than Music:

    I have a qualification in Wedding Planning in addition to my degree, so I love everything to do with that industry. I also like reading, scrap-booking and I do charity work from time to time.

    What would your advice be for an up and coming, young musician?

    Give it your best shot while you can- don’t live with regrets. Also be gracious when people want to help you- some of my most valuable musical progressions have emerged from constructive criticism.

    Where can we find more information?

    You can find my website at www.oliviacastle.com which will link you to all my social media channels.  My username for twitter and Instagram is ocastle_music and my Facebook page address is: www.facebook.com/oliviacastlesinger

    New releases and projects coming up:

    I have just launched my debut album so no new recordings in the pipeline at this moment but give me a few more months and I’m sure I will be itching to get back in the studio. I am taking part in some music festivals in England this summer.

     

    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    February 4, 2015 • Up and Coming Musicians • Views: 959

  • Saxophonist Ahkeem Hopkins | Teen Jazz Artist

    Why did you begin studying music?

    Music has always been something that just “came to me.” Never had to study it, I just knew how to do it. I taught myself many instruments at a young age including piano, guitar, drums, bass, trumpet, and euphonium.

    What are you doing with music now?

    Right now, I have a jazz group and we are playing locally here in Florida.

    Saxophonist Akheem Hopkins

    Located in Pensacola, FL, USA

    • Saxophonist
    • 7 years of playing

    Teen Jazz Artist Badge

    [What’s this?]

    Who are some of your influences?

    Chick Corea is my biggest influence. I also like Bill Evans but Chick Corea has been the only person I have watched repeatedly and tried to imitate.

    Who have you studied with?

    Dr. Michael Coleman
    Dr. Sandy Spivey
    Dr. Joseph Spaniola

    What would you like to do with music in the future?

    Playing music, help others learn to play an instrument. Get others to see the joy in playing music.

     

    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    January 26, 2015 • Up and Coming Musicians • Views: 801

  • Saxophonist Richard Silva | Teen Jazz Artist

    Why did you begin studying music?

    I started playing saxophone because I wanted to continue the tradition of my grandpa. He played saxophone and so did one of his sons (Joe Silva). I basically was raised in a musical family, with my dad (Reggie Silva) being the guitarist, composer, vocalist, producer, and musical mentor.

    What is your instrument setup?

    Alto Saxophone – Julius Keilwerth SX90 / mouth piece S 90 / 3 reed Vandoren
    Tenor Sax – Collegiate / 3 Vandoren / mouth piece Dukoff D 5
    Flute – Pear PF -501
    Shure – cordless microphone
    Congas – LP Galaxy M. Cohen

    Saxophonist Richard Silva

    Located in Fresno, CA, USA

    • Saxophonist
    • Doubles on flute and congas
    • 19 years of playing

    Contact: 559-824-5170 | theblujz@yahoo.com
    www.theblujz.com | facebook.com/theblujz | twitter.com/theblujz


    Teen Jazz Artist Badge

    [What’s this?]

    What are you doing with music now?

    Currently I am still very active in playing my saxophone and other instruments I could put my hands on. Other than playing, since 2011 my dad has given me the responsibility to promote his band (The Blu J’z) that I am currently performing in. By promoting, I mean finding gigs and promoting his Cd “Feelin’ the Moment.” From then to now with God’s help The Blu J’z has been recognized by various smooth jazz media sources (magazine, airplay, interview, Cd review, and more) and have also been given the opportunity to open up for renowned smooth jazz artists such as Boney James, David Sanborn with Bob James, Brian Culbertson, Keiko Matsui, Fredric Yonnet, Patrick Lamb, Paul Taylor and Marion Meadows. To this day, I still promote my dad’s music because I strongly believe his music is very unique. Currently, we both are working on The Blu J’z second album, in which it is father and son collaboration.

    Who are some of your influences?

    My first influence comes from God, who has given me the gift of music to share to others. My dad plays a vital part as a father figure and musical mentor. A musician who made a strong impact on me is Maceo Parker (Saxophonist), in which I’ve transcribed many of his songs. His energetic funk style has awakened me as musician and performer, “I know now what I must do.” Also, I have come to find that, whatever influences me as a person is best expressed through my saxophone.

    Who have you studied with?

    In high school (Roosevelt High School) I received private lessons from saxophonist Gene Doi who is a highly respected and sought out musician. In college (California State University, Fresno) I received private lessons from Doctor Alan Durst, who is also highly respected and sought out musician and professor.

    What do you plan on doing with music in the future?

    My future plans are to finish the second Blu J’z album and to hopelly be an established band who performs at well known Jazz and Smooth Jazz related festivals, concerts, and venues.

    Where can we find your music?

    On CDBaby, iTunes, and Amazon.

    Album title: Feelin’ the Moment
    Artist: The Blu J’z
    Date: Released 2001
    Genre: Jazz, Latin, Funk, Pop, R & B
    Label: Independent

     

    Any additional information you would like to add?

    These words, “I will never give up” is what I told myself in first grade which continues to inspire me to this day in everything I do and experience, but it is ultimately the belief that through God anything is possible.

    Saxophonist Richard Silva | Teen Jazz Artist

    The family-originated band The Blu J’z began as the vision of Reggie Silva. He grew up in a family of musicians, so it’s no coincidence that he chose to make music his life. As a guitarist, composer, and vocalist, Reggie’s influences came from performing and listening to bands and artists of the seventy’s era, like Earth Wind Fire, Chicago, Carlos Santana, Wes Montgomery, George Benson, Stevie Wonder, James Brown, Tower Power, Andre Crouch, The Winans, and many others. In 1998 Reggie’s vision in creating The Blu J’z sound originated from a dream, a dream of hooky melodies that paved a way in creating their first Cd in 2001, “Feelin’ the moment.” Reggie felt a connection with the album’s title because “it came from the heart.”

    Originally starting out as a five piece band, his son Richard Silva (saxophonist) joined the band during his sophomore year in high school. Since then they became popular around Fresno’s jazz music scene, performing familiar cover tunes, and along with promoting their original material that overall gave a smooth jazz vibe. Their unique sound that attracted listeners consisted of styles of Funk, Rock, Jazz, Pop, Latin, and Rhythm and Blues.

    In 2000, a newspaper writer from the Fresno Bee stumbled upon one of their performances at an Indian Casino named Table Mountain. Afterwards, he was compelled to write an article in which he titled “Family Band,” which was a full front page article on the Life Section displayed on Thursday, April 20, 2000. The original band members included: Reggie Silva (Band leader, guitarist), Joe Silva (Saxophonist, vocalist, percussion, brother), Richard Silva (Saxophonist, percussion, son), Julian Molina (Bass), Ricky Gonzalez (Rhythm guitar), and Juan Chevalier (Drummer, vocalist).

    In addition to performing at Fresno’s hot spots, they got a chance to perform twice (2001 and 2002) at the Sacramento Jazz Festival, which in 2001 was the year The Blu J’z debut their first Cd. Another big event was in 2004 when they were asked to open for Fresno’s own Smooth Jazz Festival at Coombs Riverbend Ranch.

    Within 4 years of the article, the band decided to break from the entertainment business. During this break many changes occurred in the structure of the band to include original members’ passing and moving away. Around mid-2010 Reggie was diagnosed with throat cancer. As a cancer survivor, in mid -2011 Reggie was ready for a comeback and this time his aspirations would lead him to rely on the abilities of his son Richard Silva. Richard Silva began to promote stronger for the Smooth Jazz sound that Fresno had slowly been lacking in the music scene since the departure of Smooth Jazz music from the local radio station 96.7.

    Since Richard Silva took over the promoting of the band they have gained national radio attention by way of internet and have been recently nominated for Best Indie Smooth Jazz Group from GHP from Texas. The promotion of our originals has helped us gain recognition worldwide not only through airplay but also interviews. The Blu J’z has since been recognized by major magazine companies both in California (Coffee Talk Jazz Network) and Texas (Jazz In M.E.E.) By the watchful eye of promoters and diligent hard work they had been asked to be an opening act for smooth jazz artist Boney James in concert at Woodward Park Fresno, California in 2012. It was this performance that has helped opened the door to many other opportunities including opening for other well-known smooth jazz artists to include Fred Yonnett, David Sanborn with Bob James, and Brian Culbertson, and Patrick Lamb. To this day Richard is very much determined in spreading the word about The Blu J’z. Recently from Jazz In M.E.E’s April Magazine (2014) they referenced our Cd and wrote this, “Buyer beware, the melodies will grab your attention and provide an intense form of musical expression. Watch out! This band is creating a buzz.

    “Our goal is to express what we feel, while giving the audience an entertaining experience.” Reggie Silva


     

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    January 21, 2015 • Up and Coming Musicians • Views: 1043

  • Saxophonist Tavis Yearwood | Teen Jazz Artist

    Why did you begin studying music?

    With me being a freshman in high school I can’t say that i’m studying music but its what i want to do with my life and I’m extremely serious about it. It is my favorite thing to do in the entire world and I look forward to being a music major once i reach college.

    What are you doing with music now?

    Right now I’m trying to get my name out in the music world in my area by playing at jam sessions, auditioning for every honor band and other audition entry band around, and school concerts.

    Saxophonist Tavis Yearwood

    Located in Orlando, FL, USA

    • Saxophonist
    • Doubles on Flute
    • 4 years of playing

    Teen Jazz Artist Badge

    [What’s this?]

    What is your instrument setup?

    Cannonball Big Bell Stone Series Black Nickel Tenor, Otto Link Super Tone Master 6, Rico Royal Blue Box 3

    Who are some of your influences?

    Kenny G, Dave Koz, Gerald Albright, Grover Washington Jr., Eric Marienthal, David Sanborn, Michael Brecker, Jeff Lorber, Brian Culbertson.

    Who have you studied with?

    Christina Hart, Kimberly Zipoli, Ryan Davenport, Corey Futrell, Billy Meether

    What would you like to do with music in the future?

    My dream is to become a professional musician creating my own solo studio albums and to share my music with the rest of the world.

     Any additional information you would like to add?

    I am a Soprano, Alto, Tenor saxophonist as well as a flutist. I’ve been apart of the All-County Honor Band twice and the All-County Honor Jazz Band once.

     

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    December 29, 2014 • Up and Coming Musicians • Views: 802

  • Saxophonist Isaiah Moregrass | Teen Jazz Artist

    Why did you begin studying music?

    Music was something that grasped me for as long as I remember. I knew I wanted to study it because of the passion I had for the magic behind music.

    What are you doing with music now?

    I play in ensembles at my high school and gig around Philly with my school’s small band.

    Saxophonist Isaiah Moregrass

    Located in Philadelphia, PA, USA

    • Saxophonist
    • 7 years of playing

    Teen Jazz Artist Badge

    [What’s this?]

    What is your instrument setup?

    Premier by Hire mp
    Vandoreen 3s
    Bundy Sax

    Who are some of your influences?

    Johnny Hodges
    Pepper Adams
    Gerry Mulligan
    Billie Holiday
    Ella Fitzgerald

    Who have you studied with?

    Temple CMSP program
    CAPA high school

    What would you like to do with music in the future?

    Gigging in Manhattan and being a music teacher.

     


     

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    December 23, 2014 • Up and Coming Musicians • Views: 750

  • Danny Elfman Biography | Composer & Guitarist | Teen Jazz Legends

    Despite a lack of formal musical training in orchestration, composing, counterpoint, or conducting, Danny Elfman has become one of the most sought after film composers in the film industry. Since his first major film about twenty years ago, Elfman has composed for more than fifty films and has received numerous honors including a Grammy, three Academy Award Nominations, and an honorary doctorate from the North Carolina School of the Arts in June 2007.

    Early Music Experiences

    Danny (Daniel Robert) Elfman was born May 29, 1953 in Los Angeles, California. Throughout high school, Elfman experimented with several instruments including violin, trombone, mallet instruments, and guitar (deciding much later that not one of them was of any use to him as a composer). He ended up settling on violin and guitar, and after high school, toured the world performing the violin as a street musician.

    At the age of eleven, Danny Elfman became enamored by film music and often frequented the local theater just to hear the music in the films. His “heroes” included film composers Bernard Herman, Nino Rota, Dimitri Tiomkin, Max Steiner, Franz Waxman, and Erich Korngold. Other influences include Prokofiev, Stravinsky, Orff, Bartok, Duke Ellington, Harry Partch, Philip Glass, and Lou Harrison. Elfman also attributes his diverse style of writing to other non-classical composers and groups such as old country artists, Hank Williams, Georgy Jones, and Patsy Cline, as well as pre-1935 to the 1940s jazz, current and contemporary music, Latin music, African music, and Cuban music.

    After high school, he and his brother, Richard Elfman, moved to France. It was here that he had his first professional music experiences performing and composing for a French theatrical troupe, “Le Grand Magic Circus,” at the age of 18. While he was with this group, he also learned to breath fire, a skill he continued once he moved back to California. After living in Paris, he moved to West Africa where he studied Javanese and Balinese Gamelan and embraced his passion for percussion. It was during this time that he contemplated becoming an ethnomusicologist, and was the only time when he actually “studied” music. He returned home when he ended up with malaria.

    Once he moved back to California, he collaborated with his older brother, Richard Elfman, performing musical theater on the streets. This group, then known as the Mystic Knights of the Oingo Boingo, was an avant-garde, comic troupe that later evolved into the popular music group Oingo Boingo when the Mystic Knights dissolved in 1978. While with this group, Elfman claims he began to develop the skills he would utilize later as a film composer. Elfman would often transcribe (but never play) solos and songs by composers and performers such as Duke Ellington and Stefan Grapelli so that the group could use them. Essentially, he learned how to read music by writing it.

    Oingo Boingo

    Oingo Boingo achieved substantial popularity during its seventeen years together. Although it never achieved true commercial breakthrough, they became very successful in Southern California. Oingo Boingo performed the music written by Danny for Richard’s troupe, but was arranged into a more manageable “rock band” format. Members included Danny Elfman on vocals and guitar, Steve Bartek on lead guitar, Richard Gibbs on keyboards and trombone, Kerry Hatch on bass and vocals, Johnny “Vatos” Hernandez on drums, Sam “Sluggo” Phipps on tenor sax, Leon Schneidermann on baritone sax, and Dale Turner on trumpet.

    Elfman’s stylistic model for Oingo Boingo was an African band called Highlife, which performed in a salsa-reggae style and used a horn section. It was also, in this group that he taught himself to write, transcribe, notate and orchestrate (for the twelve piece instrumentation influenced by the African band). The influence West African drumming had on Elfman is also apparent in the music of Oingo Boingo.

    One of the last pieces Danny Elfman wrote for the group was a five minute piece called Oingo Boingo Piano Concerto #1 1/2. It was the first time he committed himself to a full composition that included counterpoint. This discipline, he carried on with him when he was scoring for his first major film, Pee Wee’s Big Adventure. In his own words, “if you can write for twelve pieces, it is not that big of a creative jump to write for a whole orchestra.”

    As Elfman’s career as a film composer grew, Oingo Boingo had difficulty remaining active. In 1995, the group retired with its final performance at the Universal Amphitheatre in Hollywood on Halloween. Some of the group’s hits included Weird Science and Dead Man’s Party. One of the most important connections to come out of this group, was that of Steve Bartek, who would become Elfman’s partner and orchestrator.

    His Career as a Film Composer

    Danny Elfman’s career as a film composer was created with an opportunity that arose when Tim Burton approached him to write the soundtrack to the movie Pee Wee’s Big Adventure. Unlike many film composers who study and work their entire lives to become film composers, Danny Elfman never dreamed of composing film music. In fact, he had hopes of becoming a writer or director.

    As demand for Danny Elfman scores increased, animosity towards him grew amongst his peers. According to Elfman, jealousy exists in every field. Lacking any formal training composition, Danny was labeled as an imposter. Others often told him that they hated his music, and he faced the bitterness of others on a daily basis. However, the jealously and constant stabs regarding his competence as a composer did not bother him; it was when others were given credit for his work that he found difficulty handling. This resulted in Danny Elfman becoming protective of his composition drafts, which often contained “notational flubs”. According to his orchestrator, Steve Bartek, “Reading Danny is like reading E. E. Cummings. It’s different, but not a problem. But he’s paranoid about it.”

    Danny Elfman frequently collaborates with several directors in addition to the single-contract films he composes. According to Danny, there are a few directors that he always says “yes” to without even knowing what the film is about. Those directors include Sam Raimi, who he no longer works with (over a creative dispute after Spiderman 2), Gus Van Sant and Tim Burton.

    The most prolific and recognized of these is his relationship with Tim Burton (it is often compared to the relationship between Steven Spielberg and John Williams). The Burton-Elfman collaborations began when Burton introduced Elfman to the industry with Pee Wee’s Big Adventure in 1985. It was Elfman’s first major film. His only film scoring experience prior was when he wrote the music for the cult film, Forbidden Zone, which was directed by his brother, Richard. Paul Rubens, who was working on the film with Tim Burton, had heard the music to Forbidden Zone, and wanted the composer for Pee Wee’s Big Adventure. Coincidentally, Burton had also approached Elfman because he liked Oingo Boingo’s music and thought that Elfman would be qualified to compose the music for the film. After producing a demo, Elfman got the job.

    The pair went on to produce Beetlejuice (1988) and Batman (1989), which earned Danny Elfman a Grammy for Best Instrumental Composition. His score turned heads and gave him a reputation as an “A-list” composer. In 1990, Burton and Elfman produced Edward Scissorhands, setting a new standard for fantasy score settings. Then again, in 1993, they astonished audiences and critics with the constant orchestral score and Elfman providing the singing voice of the main character, Jack Skellington, in The Nightmare Before Christmas. Other notable collaborations include Mars Attacks! (which reunited the pair after a fallout following The Nightmare Before Christmas), Charlie and the Chocolate Factory for which Elfman sang all of the Oompa Loompa vocals, and Corpse Bride where Elfman provided the voice of Bonejangles, among others. In fact, Elfman has composed the music for all but two of Burton’s films, Ed Wood, and more recently, Sweeney Todd. Elfman claims that the relationship he has with Tim Burton works so well because “Tim will allow me to do my work.” In other words, Tim Burton allows Danny Elfman to be creative and produce strong scores because they are on the same page creatively.

    In the mid-90s, Elfman’s sound as a composer began to change as he implemented the use of synthesizers and sequencing software. This is demonstrated clearly on the Dead Presidents and Mission Impossible soundtracks. Elfman uses many samples when composing – mostly for percussion and guitars. He says it is too costly and time consuming to record instruments such as hand drums and ethnic drums, and it is easier to sample the instruments independently in his home studio and have the orchestra perform to the track.

    Danny Elfman states that he is proud of most of his scores, but in particular, he likes Batman, Batman Returns, Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas, which he said was very hard to compose. He also enjoyed writing Midnight Run in 1988, which lead to a wave of imitators, Dolores Claiborne, and composing for the Gus Van Sant films To Die For and Good Will Hunting.

    Other Works

    In recent years, Elfman has grown tired of film composing and has sought to explore other avenues of composition and creativity. He still enjoys film scoring as part time work, but admits that he hates doing it as full time work.

    Some of his outside compositions have included composing for television. In 1989, he met with Matt Groenig, and created the theme to The Simpsons, which he claims earns him $11.50 every time it is played. He has also composed themes for several other television shows including Tales from the Crypt and Desperate Housewives.

    In addition to television, he is interested in composing original musicals and musical versions of films of films he has scored, such as Edward Scissorhands. He has also explored writing full-scale orchestral works intended to be performed in a hall. On February 23, 2005, Serenada Schizophrana, was premiered at Carnegie Hall. It earned great acclaim from both popular music and classical music critics. Due to its popularity, it was implemented into the film Deep Sea 3D, which was narrated by Johnny Depp and Kate Winslet. The piece is scored for large orchestra, electronics, two pianos, and female voices.

    Conclusion

    Over the last twenty years, Danny Elfman has been recognized as a prolific composer across a variety of genres, namely film scoring and popular music. He is constantly surprising his audience with his diversity as a composer, and has created a strong reputation as a skilled composer despite animosity from others in the industry early in his career. Despite the fact he was initially labeled as a dark composer, he has eluded being put in a stylistic box by avoiding composing in any one style. According to Elfman, he does not feel it is necessary to have a trademark sound and prefers to be the composer that “you never know what he’s going to do next.” With over two decades of experience under his belt, Danny Elfman will continue to develop his reputation as an in-demand and well-respected film composer.

    Selected Discography

    1982 Forbidden Zone

    1985 Pee Wee’s Big Adventure

    1986 Alfred Hitchcock Presents
    Back To School
    Wisdom
    Amazing Stories

    1987 Summer School

    1988 Beetlejuice
    Midnight Run
    Big Top Pee Wee
    Hot to Trot
    Face Like a Frog
    Scrooged

    1989 Batman

    1990 Nightbreed
    Dick Tracy
    Darkman
    Edward Scissorhands

    1992 Article 99
    Batman Returns
    Batman: The Animated Series

    1993 Sommersby
    Army of Darkness
    The Nightmare Before Christmas

    1994 Black Beauty

    1995 Dolores Claiborne
    To Die For
    Dead Presidents

    1996 Freeway
    Mission Impossible
    The Frighteners
    Extreme Measures
    Mars Attacks!

    1997 Men In Black
    Flubber
    Good Will Hunting

    1998 A Simple Plan
    A Civil Action

    1999 Instinct
    Anywhere But Here
    Sleepy Hallow

    2000 Proof of Life
    The Family Man

    2001 Spy Kids
    Mazer World
    Planet of the Apes

    2002 Spiderman
    Men In Black II
    Red Dragon
    Chicago

    2003 Hulk
    Big Fish

    2004 Spiderman 2

    2005 No Experience Needed
    Charlie and the Chocolate Factory
    Corpse Bride

    2006 Deep Sea
    Nacho Libre
    Charlotte’s Web

    2007 Meet the Robinsons
    Desperate Houswives
    The Kingdom

    2008 Standard Operating Procedure
    Wanted
    Hellboy II
    Milk

    2009 Notorious
    Terminator Salvation
    Taking Woodstock
    The Wolf Man

    2010 Alice in Wonderland
    The Next 3 Days

    2011 Restless

    2012 Dark Shadows
    Men in Black 3
    Frankenweenie
    Hitchcock
    Promised Land

    2013 Oz the Great and Powerful
    Epic
    American Hustle

    2014 Mr. Peabody & Mr. Sherman
    The Unknown Known
    Big Eyes


    Sources

    http://www.angelfire.com/biz2/nightmare1/danman.html

    http://www.bluntinstrument.org.uk/elfman/

    http://encyclopedia.jrank.org/articles/pages/1313929/Danny-Elfman.html

    http://elfman.filmmusic.com/

    Glionna, John M. COVER STORY, A Different Beat. Danny Elfman Pinged From
    Oingo Boingo Front Man to Prolific Movie Score Writer. Now This Oddball
    May Pong Into Directing His Own Scripts. 1999.

    Gordinier, Jeff. ENTERTAINMENT WEEKLY #422, MARCH 13, 1998.

    http://www.imdb.com/name/nm0000384/

    http://movies.nytimes.com/person/88821/Danny-Elfman/biography

    http://www.serenadaschizophrana.com/

    http://www.timburtoncollective.com/sonic.html

    http://web.archive.org/web/20001213004800/http://www.emu.com/artist/d_elfman/elfman_intrview.html

    November 19, 2014 • Interviews • Views: 1286

  • The Biography of George Gershwin | Teen Jazz Legends

    Known as the American composer who bridged the gap between popular and classical musics, George Gershwin is an award winning composer and musician who got his start playing in a resort during his free time and as a song plugger for Tin Pan Alley.

    George Gershwin was born Jacob Gershovitz in Brooklyn, New York, to Jewish, Russian immigrants Morris Gershovitz and Rose Bruskin on September 26, 1898. As the second of four children, he had two brothers and one sister. He went on to become the most well-known member of his family even though his older brother, Ira (born Israel Gershovitz), was a successful lyricist.

    Some of Gershwin’s initial musical inspirations were a mechanical piano that played Rubenstein’s “Melody in F” and Maxie Rosenzweig, a violin-playing peer attending his school. Gershwin kept a musical scrapbook in which he glued music related things into as a child. In 1910, the Gershwin family brought a piano original intended for Ira. Instead, it was George who began to seriously study music. He soon began lessons with neighbor, and then, he was later referred to Charles Hambitzer. Simultaneously, he began taking theory lessons from Edward Kileny. George Gershwin attended the High School of Commerce. At school, he would play piano during the morning assemblies.

    Gershwin worked in one of his father’s restaurants while playing popular songs at a mountain resort in his free time. His mother was not supportive of his musical path because she had intended for him to become a bookkeeper or lawyer.

    Moses Gumble at Jerome H. Remick and Company (a music publishing company) eventually offered Gershwin a job as a song plugger. He was paid fifteen dollars a week, and after convincing his mother of the benefits, he dropped out of school at fifteen. The organization he “plugged” songs for was Tin Pan Alley. As a song plugger, he played a tune, hoping to convince performers that they wanted to buy the sheet music to perform it at home. While doing this, he also began to write his own music. These compositions were kept in a folder titled “GT,” an abbreviation for “Good Tunes.”
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    In 1913, George Gershwin wrote “Since I Found You,” a ragtime song which was later followed by “When You Want ‘Em You Can’t Get ‘Em, When You’ve Got ‘Em You Don’t Want ‘Em” in 1916 which was not initially a success, but attracted a few Broadway composers. Also in 1916, another Gershwin song was used by Sigmund Romberg; Gershwin also began to make piano rolls.

    In 1917, he wrote “Rial to Ripples,” “Beautiful Bird,” and “You Are Not the Girl.” In this year, he also stopped working as a song plugger and began to travel the Vaudeville Circuit as a pianist. He was then hired to write songs for Max Dreyfus at T.B. Harms, another music publishing company. In addition, he also toured as Nora Bayes’ pianist.

    On October 24, 1918, “The Real American Folk Song (Is a Rag),” the first song on which Iran and George collaborated, premiered on Broadway, sung by Nora Bayes. The same year, Gershwin also wrote “Kitchenette,” “If Only You Knew,” “There’s Magic in the Air,” and “When There’s a Chance to Dance.”

    In 1919, “Swanee” premiered at Capital Revue. It later became a hit when Al Jolson interpolated the song into his revue at the Winter Garden Theater. It was performed in the musical “Sinbad.” That year, Gershwin also wrote “La, La Lucille,” “Morris Gest Midnight Whirl,” “Lullaby,” “The Lady in Red,” and “Good Morning, Judge.” “La, La Lucille” was Gershwin’s first Broadway show.

    In 1920, he began to write for George White’s Scandals. This series of compositions lasted for five years. He also wrote “Piccadilly to Broadway,” “For No Reason at All,” “Mischa, Jascha, Toscha, Soscha,” “Waiting for the Sun to Come Out,” “Back Home,” “I Want to Be Wanted by You,” “Ed Wynn’s Carnival,” and “Broadway Brevities of 1920.”

    In 1921 he wrote “The Perfect Fool,” “Blue Eyes,” “Selwyn’s Snapshots of 1921,” “A Dangerous Maid,” and “Phoebe.”

    In 1922, Gershwin composed the one act opera “Blue Monday.” He also composed “Molly on the Shore,” “For Goodness Sake,” “A New Step Ev’ry Day (Stairway to Paradise),” “Our Nell,” “The French Doll,” and “The Spice of 1922.”

    In 1923, Gershwin composed “The Rainbow,” “The Dancing Girl,” “Nifties of 1923,” “I Won’t Say I Will But I Won’t Say I Won’t,” and “The Sunshine Trail.”

    February 12, 1924, “Rhapsody in Blue” was premiered in Aeolian Concert Hal with Paul Whiteman and his Palais Royal Orchestra.

    Later in 1924, Gershwin wrote “Lady, Be Good” in collaboration with his brother which premiered on December 24 on Broadway at Liberty Theatre. This cemented the partnership between George and Ira.

    “Concerto in F,” “Song of the Flames,” “Short Story,” “Tell Me More,” and “Tiptoes” were composed in 1925. Then in 1926, “Preludes for Piano,” “Americana,” and “Oh, Kay!” were written.

    In 1928, “An American in Paris” premiered at Carnegie Hall with Walter Damrosch conducting the New York Symphony Orchestra. “Treasure Girl” and “Rosalie” were also written.

    “Show Girl,” “Impromptu in Two Keys,” “Three-Quarter Blues,” and “East is West” were composed in 1929.

    In 1930, Ira and George began to write musicals together and moved to Hollywood for seven years. One of these musical upon which they collaborated was “Strike Up the Band.” Written in 1927, the musical was a satire and it became a huge success. The later collaborated on “Funny Face” and “Girl Crazy” which featured Ethel Merman who introduced “I Got Rhythm” in this musical. It also featured Ginger Rogers at Alvin Theatre. This same year, George Gershwin composed his first film score, “Delicious” in Hollywood. He also composed for the film “The King of Jazz.” This year, “9:15 Review” was composed as well as a revision of “Strike Up the Band.”

    In 1931, the Second Rhapsody and The Cuban Overture premiered but the public did not enjoy them. In 1932, on December 26, Ira and George wrote “Of Thee I Sing” with George S. Kaufman and Morrie Ryskind which premiered at the Music Box Theatre. It was the first musical to win a Pulitzer Prize for drama, but George was not recognized for this until 1998.

    “Pardon My English” and “Let ‘Em Eat Cake” were composed in 1933. Then, in 1934, “Variations on I Got Rhythm” appeared. In 1935, George wrote his first opera, “Porgy and Bess” which was released to mixed reviews and didn’t really become popular until Gershwin’s death. Then in 1936, Gershwin composed “The Show is On” and “Suite from Porgy and Bess.” In 1937, “Shall We Dance” and “A Damsel in Distress” were also composed.

    George Gershwin began to experience headaches, dizzy spells and blackouts in 1937. His spells became so bad that he was sometimes found crouched down between hotel room beds with all light blocked out, holding his head with no idea of how long he had been sitting there. On July 9, he collapsed into a coma and a brain tumor was diagnosed. The situation was found hopeless when surgeons went to operate. He never awoke from his coma and he passed away on July 1, 1937.

    Gershwin was one of the first American premier composers. He also did visual arts. After his death, thirty-seven of his works were exhibited in a one-man show at the Harriman Gallery in New York.

    November 10, 2014 • Interviews • Views: 1024