David “Fathead” Newman succumbed to pancreatic cancer.

It is with great sadness that I let you all know that David Newman succumbed to pancreatic cancer on January 20, 2009.

A kind and gentle man, and a heck of a sax player, he will be missed by many.

To view his website, click here.

NEA Jazz Masters Moments highlight the jazz greats honored through the NEA Jazz Masters, a comprehensive program of jazz support that includes the NEA Jazz Masters Award, an NEA Jazz Masters tour with performances and educational activities, radio programming, a compilation CD, educational resources, and publications and reports. Nearly 100 radio segments feature eighteen NEA Jazz Masters, providing musical samples, historical information, and first-person anecdotes designed to give listeners added insight into the artists and their art.

By NAT HENTOFF

In 1993, my friend Dizzy Gillespie invited me to join him on one of the jazz cruises where musicians perform and hang out with jazz-struck passengers. I had interviewed him before, but this would be in a more extensive and varied setting. Suddenly Dizzy canceled the trip, entering New Jersey’s Englewood Hospital and Medical Center, where he had previously been a patient. There, dying of pancreatic cancer, Dizzy, who had health insurance, said to Francis Forte, his oncologist, and himself a jazz guitarist: “I can’t give you any money, but I can let you use my name. Promise you’ll help musicians less
fortunate than I am.” That was the Dizzy I knew, regarded by his sidemen as a teacher and mentor.

>From that conversation began the Dizzy Gillespie Memorial Fund and the Dizzy Gillespie Cancer Institute at the hospital. By now more than a thousand jazz musicians unable to pay have received a full range of medical and surgical care by Dr. Forte and a network of more than 50 physicians in various specialties, financed by the hospital and donations.

The primary access to this unprecedented life-expanding jazz program is through the Jazz Foundation of New York, also known internationally for helping jazz musicians — from preventing their being evicted to providing food and other necessities. Since most jazz players don’t have medical or pension plans, some at last have a substantial safety net, all the more extensive thanks to Dizzy.

At Englewood Hospital and Medical Center, the costs of the medical care so far have been more than $5 million. Says Douglas A. Duchak, its president and CEO: “In death, Dizzy’s legacy has touched — and sometimes saved — the lives of jazz musicians around the world.”

Dr. Forte, a guitarist who donates whatever he earns from his jazz gigs at Griffin’s in Cresskill (north of Englewood) to the center, told me recently that eager as he was to fulfill his promise to Dizzy, “I had to first find out if this icon had any skeletons in his closet that could create problems for the hospital. I called a lot of musicians, including trumpet players, and there was nothing, nothing at all, but admiration.”

Thereupon, to summon the spirit of a vintage New Orleans jazz anthem, the saints started marching in. Wendy Oxenhorn, executive director of the Jazz Foundation, says: “They’ve never turned down a musician in need that we have sent them.” She tells of how the Hot & Brass Band of New Orleans, after playing a New York benefit for Hurricane Katrina survivors, came to Englewood Hospital with various ailments, particularly a musician with an untreated gash on his leg from carrying his child through the floodwater. “The doctors at Englewood,” says Wendy, “checked all of them for free, and gave them lunch.”

There are particular physical problems that affect musicians’ livelihoods. “We’ve had people who couldn’t carry their drums — they had degenerative hip disease,” Dr. Forte told the North Jersey Record on Oct. 26. “A fellow with terrible teeth couldn’t play his trumpet, and there are guitarists who can’t play because their wrists hurt.”

I’ve told Frank Forte that he and the other physicians on jazz call at the hospital exemplify a classic Jelly Roll Morton recording, “Doctor Jazz.”

On Oct. 25, in the auditorium of Englewood Hospital and Medical Center, the 15th anniversary of the Dizzy Gillespie Institute and Memorial Fund was celebrated with this Dr. Jazz as honoree. There were 15 musicians performing — some of whom told of the regeneration they’ve received as Dr. Forte’s promise to Dizzy Gillespie is being kept. Pianist Danny Mixon, who has been treated for prostate cancer, said: “I just got cleared from Dr. Forte a few weeks ago. He told me, ‘Just keep playing the music, man.'”

The tribute and concert also marked the grand opening of the new Infusion Therapy Center, serving all of the hospital’s patients in need of the intravenous administration of medication, nutrients or fluids.

Coming, Dr. Forte tells me, are more “screening programs for prostate, colon and breast cancer; diabetes; hypertension; sickle cell anemia, etc. — so people don’t get terribly sick before we see them. I just turned 70, and I am going to continue this as long as I can, hopefully raising some money so we’ll be able to continue doing this in these tough times of cutbacks.”

As a result of the October tribute to him, nearly $25,000 has been donated to the Dizzy Gillespie Memorial Fund in the doctor’s honor. The benefits are not solely to the musicians.

“Heaven knows,” says Dr. Jazz, “the music is a force that brings renewal not only to the sick but also to the staff who treat them. The music spurs on the caregivers and family members, too. We know this for sure at Englewood Hospital.”

These comments are in the liner notes for “Jazz Therapy” — a new series of recordings involving Englewood Hospital, the Jazz Foundation and Motema Records (englewoodhospital.com; jazzfoundation.org and motema.com), with proceeds benefiting the Dizzy Gillespie Memorial Fund.

The concept was proposed to Motema Records founder Jana Harzen, who specializes, she notes, in recording artists who create “music with healing qualities, regardless of genre.” Her label, Motema, is named after a central African word meaning both “heart” and “love.”

The first volume in the Jazz Therapy series, “Smile,” is a lyrically meditative dialogue between guitarists Roni Ben-Hur and Gene Bortoncini. The album is dedicated to the late master bassist Earl May, after whom Englewood Hospital has named the area in the main lobby where jazz musicians perform each weekday from noon to 2 p.m. When “Smile” premiered at Jazz at Lincoln Center in Dizzy’s Club Coca-Cola on Nov. 3, Dr. Jazz, the oncologist, sat in for one number.

As I think of all this healing medicine generated by the spirit of Dizzy Gillespie, he comes to mind as I described him in “Listen to the Stores/ Nat Hentoff on Jazz and Country Music” (Harper Collins): “Seeing Dizzy, however casually, was like coming into sunlight. By the warmth of his greeting, his natural considerateness and the keenness of his intelligence — which made his wit so sharp — he was a delight to be with. And he was a delight to himself when he was alone.”

I was mindful of Gene Lees in “Waiting for Dizzy” (Oxford University Press). About to meet Gillespie in a small park in Minneapolis, he saw that “lost in some musical thought, Dizzy was softly dancing, all alone there, in the sunlight.”

There are musicians now who can dance because of Dizzy and Dr. Jazz.

Mr. Hentoff writes about jazz for the Wall Street Journal.

The African American Jazz Caucus, Inc., in partnership with the Schomburg Center for Research in Black Culture of the New York Public Library, will launch Black History month by presenting the 2009 AAJC/HBCU Student All-star Big Band in concert, Sunday, February 1, 2009 at 3:00 pm, in the Schomburg Langston Hughes Auditorium, 135th Street and Malcolm X Boulevard, Harlem, New York. The big band is composed of the finest young talent from outstanding jazz programs at Historically Black Colleges and Universities.

The establishment of the AAJC/HBCU Student All-star Big Band was conceived in 2001 by Dr. Larry Ridley, Executive Director of the African American Jazz Caucus, Inc. They have been performing since 2002 under the direction of the AAJC/HBCU Jazz Directors Committee to standing room only audiences in Long Beach, California; New York City; Toronto, Canada and the Schomburg Center for Research in Black Culture. They were also the featured band in 2006 and 2008 at the University of Notre Dame Collegiate Jazz Festival, the oldest collegiate jazz festival in the world. The Chairman of the Committee is Dr. Russell Thomas, Jackson State University.

The Historically Black Colleges and Universities represented by the 2009 big band members are: Clark Atlanta University; Fayetteville State University; Florida A & M University; Huston – Tillotson University; Jackson State University; North Carolina Central University; Texas Southern University and the University of Maryland Eastern Shore. The big band will be conducted by Professor James Patterson, Clark Atlanta University; Professor James Holden, Virginia State University and Professor Robert Trowers, North Carolina Central University.

Rev. Ronald V. Myers, Sr., M.D., Founder & Chairman of the National Juneteenth Holiday Campaign, will present the prestigious “National Juneteenth Leadership Award” to Ms. Patricia R. Deans, Founder & Director of the Brownsville Heritage House in Brooklyn, NY. Ms. Deans played a key role in the successful passage of the historic legislation in 2004 recognizing “Juneteenth Freedom Day” as an official New York State Holiday Observance.

Please come celebrate Black History Month in Harlem with us!

For more information, please visit www.aajc.us or call (212) 979-0304.

Tickets: members, $16; non members, $20.

For ticket charge call the Schomburg Shop at (212) 491-2206.

By Peter Keepnews

Freddie Hubbard, a jazz trumpeter who dazzled audiences and critics alike with his virtuosity, his melodicism and his infectious energy, died Monday in Sherman Oaks, California. He was 70.

The cause was complications of a heart attack he had Nov. 26, said his spokesman, Don Lucoff of DL Media.

Over a career that began in the late 1950s, Hubbard earned both critical praise and commercial success – although rarely for the same projects.

He attracted attention in the 1960s for his bravura work as a member of the Jazz Messengers, the valuable training ground for young musicians led by the veteran drummer Art Blakey, and on albums by Herbie Hancock, Wayne Shorter and many others. He also recorded several well-regarded albums as a leader. And although he was not an avant-gardist by temperament, he participated in three of the seminal recordings of the 1960s jazz avant-garde: Ornette Coleman’s “Free Jazz” (1960), Eric Dolphy’s “Out to Lunch” (1964) and John Coltrane’s “Ascension” (1965).

In the 1970s Hubbard, like many other jazz musicians of his generation, began courting a larger audience, with albums that featured electric instruments, rock and funk rhythms, string arrangements and repertory sprinkled with pop and R&B songs like Paul McCartney’s “Uncle Albert/Admiral Halsey” and the Stylistics’ “Betcha by Golly, Wow.” His audience did indeed grow, but his standing in the jazz world diminished.

By the start of the next decade he had largely abandoned his more commercial approach and returned to his jazz roots. But his career came to a virtual halt in 1992 when he damaged his lip, and although he resumed performing and recording after an extended hiatus, he was never again as powerful a player as he had been in his prime.

Frederick Dewayne Hubbard was born on April 7, 1938, in Indianapolis. His first instrument was the alto-brass mellophone, and in high school he studied French horn and tuba as well as trumpet.

After taking lessons with Max Woodbury, the first trumpeter of the Indianapolis Symphony Orchestra, at the Arthur Jordan Conservatory of Music, he performed locally with, among others, the guitarist Wes Montgomery and his brothers.

Hubbard moved to New York in 1958 and almost immediately began working with groups led by the saxophonist Sonny Rollins, the drummer Philly Joe Jones and others. His profile rose in 1960 when he joined the roster of Blue Note, a leading jazz label; it rose further the next year when he was hired by Blakey, widely regarded as the music’s premier talent scout.

Adding his own spin to a style informed by Dizzy Gillespie, Miles Davis and Clifford Brown, Hubbard played trumpet with an unusual mix of melodic inventiveness and technical razzle-dazzle. The critics took notice. Leonard Feather called him “one of the most skilled, original and forceful trumpeters of the ’60s.”

After leaving Blakey’s band in 1964, Hubbard worked for a while with another drummer-bandleader, Max Roach, before forming his own group in 1966. Four years later he began recording for CTI, a record company that would soon become known for its aggressive efforts to market jazz musicians beyond the confines of the jazz audience.

Hubbard won a Grammy Award for the album “First Light” in 1972 and was named a National Endowment for the Arts Jazz Master in 2006.

He is survived by his wife of 35 years, Briggie Hubbard, and his son, Duane.

Hubbard was once known as the brashest of jazzmen, but his personality as well as his music mellowed in the wake of his lip problems. In a 1995 interview with Fred Shuster of Down Beat, Hubbard offered some sober advice to younger musicians: “Don’t make the mistake I made of not taking care of myself. Please, keep your chops cool and don’t overblow.”

Click here to view obituary.

Click here to view bio.

Click here to view discography.

Check out a couple YouTube clips below:

http://www.youtube.com/watch?v=4noNAphDFA8&feature=related

http://www.youtube.com/watch?v=xYAVaAiURqU

http://www.youtube.com/watch?v=kTbsxtUJZN0&feature=related

The New York Times
My Alerts: NY Times Jazz
December 19, 2008 1:43 AM
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Arts: G.M. Pulls Out of Jazz Festival
By BEN SISARIO; Compiled by Dave Itzkoff

General Motors will withdraw as the lead sponsor of the Montreal International Jazz Festival, one of the biggest and most prestigious in the world, because of the crisis in the auto industry. G.M. has contributed about 10 percent of the festival’s $25 million annual budget but will not renew its current five-year sponsorship contract, which expires after the 30th-anniversary season next summer, said Alain Simard, president of the festival’s parent company, L’Équipe Spectra. “We have a year and a half to find a new lead sponsor,” Mr. Simard said. “It’s not easy in these times, but in 30 years we have never been without a sponsor.” With more than 500 concerts, about two-thirds of them free, the festival regularly attracts more than a million visitors to the city. The lineup for next summer includes Buddy Guy, Chucho Valdés, Madeleine Peyroux, Patricia Barber, Dave Holland and Gonzalo Rubalcaba.

Full Story:
http://www.nytimes.com/2008/12/19/arts/19arts-GMPULLSOUTOF_BRF.html?emc=tnt&tntemail1=y