Branford Marsalis is an American saxophonist and bandleader. While known for his work in jazz as the leader of the Branford Marsalis Quartet, he performs as a soloist with classical ensembles and has led the group Buckshot LeFonque. Marsalis was born in Breaux Bridge, the son of Dolores, a jazz singer and substitute teacher, Ellis Louis Marsalis, Jr. a pianist and music professor. His brothers Jason Marsalis, Wynton Marsalis, Delfeayo Marsalis are jazz musicians. In mid-1980, while still a Berklee College of Music student, Marsalis toured Europe playing alto and baritone saxophone in a large ensemble led by drummer Art Blakey. Other big band experiences with Lionel Hampton and Clark Terry followed over the next year, by the end of 1981 Marsalis, on alto saxophone, had joined his brother Wynton in Blakey's Jazz Messengers. Other performances with his brother, including a 1981 Japanese tour with Herbie Hancock, led to the formation of his brother Wynton's first quintet, where Marsalis shifted his emphasis to soprano and tenor saxophones.
He continued to work with Wynton until 1985, a period that saw the release of his own first recording, Scenes in the City, as well as guest appearances with other artists including Miles Davis and Dizzy Gillespie In 1985, he joined Sting and bassist of rock band the Police, on his first solo project, The Dream of the Blue Turtles, alongside jazz and session musicians Omar Hakim on drums, Darryl Jones on the bass and Kenny Kirkland on keyboards. He became a regular in Sting's line-up both in the studio and live up until the release of Brand New Day in 1999. In 1994, Marsalis appeared on the Red Hot Organization's compilation CD, Stolen Moments: Red Hot + Cool; the album, meant to raise awareness of the AIDS epidemic in African American society, was named Album of the Year by Time. In 1988, Marsalis co-starred in the Spike Lee film School Daze rendering several horn-blowing interludes for the music in the film, his witty comments have pegged him to many memorable one-liners in the film. From 1992 to 1995, Branford was the leader of the Tonight Show Band on The Tonight Show with Jay Leno.
He turned down the offer, but reconsidered and accepted the position. He was succeeded as bandleader by guitarist Kevin Eubanks. Between 1990 and 1994, Branford played with the Grateful Dead several times. With original member Jeff "Tain" Watts on drums, bassist Eric Revis replaced Hurst in 1997, while pianist Joey Calderazzo became a member after Kirkland's death the following year; the Branford Marsalis Quartet has toured and recorded extensively, receiving a Grammy in 2001 for the album Contemporary Jazz. For two decades Marsalis was associated with Columbia, where he served as creative consultant and producer for jazz recordings between 1997 and 2001, including signing saxophonist David S. Ware for two albums. In 2002, Marsalis founded Marsalis Music, its catalogue includes Claudia Acuña, Harry Connick Jr. Doug Wamble, Miguel Zenón, in addition to albums by members of the Marsalis family. Marsalis has become involved in college education, with appointments at Michigan State, San Francisco State, North Carolina Central University.
After Hurricane Katrina in 2005, Marsalis and Harry Connick, Jr. working with the local Habitat for Humanity, created Musicians Village in New Orleans, with the Ellis Marsalis Center for Music the centerpiece. In 2012, Marsalis and Connick received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards. In September 2006, Branford Marsalis was awarded an Honorary Doctorate of Music from Berklee College of Music. During his acceptance ceremony, he was honored with a tribute performance featuring music from throughout his career. Under the direction of conductor Gil Jardim, Branford Marsalis and members of the Philharmonia Brasileira toured the United States in the fall of 2008, performing works by Brazilian composer Heitor Villa-Lobos, arranged for solo saxophone and orchestra; this project commemorated. Branford Marsalis and the members of his quartet joined the North Carolina Symphony for American Spectrum, released in February 2009 by Sweden's BIS Records.
The album showcases Marsalis and the orchestra performing a range of American music by Michael Daugherty, John Williams, Ned Rorem and Christopher Rouse, while being conducted by Grant Llewellyn. Marsalis was nominated for and won a 2010 Drama Desk Award in the category "Outstanding Music in a Play" and was nominated for a 2010 Tony Award in the category of "Best Original Score Written for the Theatre" for his participation in the Broadway revival of August Wilson's Fences. On July 14, 2010, Marsalis made his debut with the New York Philharmonic on Central Park's Great Lawn. Led by conductor Andrey Boreyko and the New York Philharmonic performed Glazunov's "Concerto for Alto Saxophone" and Schuloff's "Hot-Sonate for Alto Saxophone and Orchestra." Boreyko and the Philharmonic performed the same program again in Vail, CO that month and four more times at Avery Fisher Hall in New York, NY the following February. Marsalis, with his father and brothers, were group recipients of the 2011 NEA Jazz Masters Award.
In June 2011, after working together for over 10 years in a band setting, Branford Marsalis and Joey Calderazzo released their first duo album titled Songs of Mirth and Melancholy, on Branford's label, Marsalis Music. Their world premiere performance was on June 29, 2011 in Koerner Hall at the 2011 TD Toronto Jazz Festival. In 2012, Branford Marsalis released Four MFs Playin' Tunes on deluxe 180-gram high defi
Rickie Lee Jones
Rickie Lee Jones is an American vocalist, songwriter, producer and narrator. Over the course of a career that spans five decades, Jones has recorded in various musical styles including rock, R&B, pop and jazz. Jones is a two-time Grammy Award winner. Additionally, she was listed at number 30 on VH1's 100 Greatest Women in Rock & Roll in 1999, her album Pirates was number 49 on NPR's list of the 150 Greatest Albums Made by Women. Jones was born the third of four children to Richard and Bettye Jones, on the north side of Chicago, Illinois, on November 8, 1954, her paternal grandfather, Frank "Peg Leg" Jones, her grandmother, Myrtle Lee, a dancer, were vaudevillians based in Chicago. A singer and comedian, Peg Leg Jones' routine consisted of playing the ukulele, singing ballads, telling stories. Jones' father, one of four children, was a WWII veteran. A singer, songwriter and trumpet player, her father worked as a waiter, her mother, was raised in orphanages in Ohio with her three brothers until she was old enough to leave.
The family moved to Arizona in 1959, the landscape provided imagery for her early music. She grew up riding horses, studying dance, practicing swimming with her AAU coach before and after school; when she was 10 years old the family moved to Olympia, where her father abandoned them. At 14 and 15, she ran away to her father's in Kansas City, MO. Over the years she has returned to the Puget Sound area to reside and perform. Jones took the GED test and enrolled in college in Tacoma, she moved to California, on her 18th birthday. At 19, Jones played in bars and coffee houses in LA. At the age of 21, Jones began to play in clubs in Venice. Jones played music in showcases, worked with cover bands in clubs, sat in with Venice jazz bands. Nick Mathe, a neighbor, took an interest in Jones' music and helped her get publicity photos with Bonnie Shiftman, at A&M, in their off hours the three of them shot Jones's first photos, she met a piano player and songwriter. Together they wrote "Weasel and the White Boys Cool", "Company" which would appear on Jones' debut album.
By 1977, Jones was performing original material at the Ala Carte Club in Hollywood with Johnson. In 1977, Jones met Tom Waits at The Troubadour after her friend Ivan Ulz’ show in which she had sung her father's song "The Moon is Made of Gold", a few of her own songs. Jones and Waits were lovers at the outset of her career, creating a lifelong association with one another. Jones met Chuck E. Weiss, who would figure prominently in her early career. In early 1978, through the efforts of Ulz, she came to the attention of Dr. John and Little Feat's Lowell George. Ulz introduced Lowell George to Jones' composition "Easy Money" by singing it to him over the telephone. George recorded her song for his first solo record, Thanks, I'll Eat It Here in 1978, it became the only single from George's final record before his death. A four-song demo of material was circulated around the L. A. music scene in 1978, with Emmylou Harris recalling that she had heard an early version of "The Last Chance Texaco" on the demo tape.
The recordings came to the attention of Lenny Waronker and executive at Warner Bros. Records, Tommy LiPuma. Jones was courted by the major labels, after a bidding war, Jones chose Waronker because of his work with Randy Newman, because, she said, she had a vision of standing in his office the moment she saw his name on the back of Newman's Sail Away album. Waronker signed Jones to Warner Bros. for a five-record deal. Work commenced on her debut album, co-produced by Russ Titelman. Rickie Lee Jones was released in March 1979 and became a hit, buoyed by the success of the jazz-flavored single "Chuck E.'s In Love", which hit No. 4 on the Billboard Hot 100, featured an accompanying music video. The album, which included guest appearances by Dr. John, Randy Newman, Michael McDonald, went to No. 3 on the Billboard 200 and produced another Top 40 hit with "Young Blood" in late 1979. Her appearance – as an unknown – on Saturday Night Live on April 7, 1979, sparked an overnight sensation, she performed "Chuck E.'s in Love" and "Coolsville".
Jones was covered by Time magazine on her first professional show, in Boston, they dubbed her "The Duchess of Coolsville". Touring after the album's release, she played Carnegie Hall on July 22, 1979. Members of her group included native New York guitarist Buzz Feiten, featured on the album and would appear in her recorded works for over a decade. Following a successful world tour, Jones appeared on the cover of Rolling Stone magazine. Photographed by Annie Leibovitz, the cover image showed Jones posing in a crouched stance, wearing a black bra and a white beret; the announcement of Lowell George's death appeared in the same issue, the largest selling issue in the magazine's history up to that time. Jones secured four nominations at the 22nd Annual Grammy Awards: Song of the Year and Best Pop Vocal Performance, Female for "Chuck E.'s in Love". Before the 1980 ceremony, Jones told her mentor Bob Regher. Changing her mind at the last minute, the two raced to the event just in time for her to walk up and collect her'Best New Artist' trophy, in her leather jacket and boa, signature beret and gloves.
In her acceptance speech, she thanked her lawyers and her accountant, which earned laughter and applause from the audience. In 1980, Francis Ford Coppola asked Jones to collaborat
William James Dixon was an American blues musician, songwriter and record producer. He was proficient in playing both the upright bass and the guitar, sang with a distinctive voice, but he is best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", "You Can't Judge a Book by the Cover"; these songs were written during the peak years of Chess Records, from 1950 to 1965, were performed by Muddy Waters, Howlin' Wolf, Little Walter, Bo Diddley. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s, his songs have been covered by some of the most successful musicians of the past sixty years including Bob Dylan and Jimi Hendrix.
Jeff Beck, The Doors, Led Zeppelin, The Rolling Stones and Steppenwolf all featured at least one of his songs on their debut albums, a measure of his influence on rock music. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Dixon was born in Vicksburg, Mississippi, on July 1, 1915, he was one of fourteen children. His mother, Daisy rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery, he sang his first song at Springfield Baptist Church at the age of four Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. In his teens, he learned how to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass, he began adapting his poems into songs and sold some to local music groups. Dixon left Mississippi for Chicago in 1936.
A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship in 1937. He became a professional boxer and worked as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of one string. Dixon's experience singing bass made the instrument familiar, he learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne; the group blended blues and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.
He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed, he reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter, he was a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, Buddy Guy, he recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, two subsidiary labels and Spoonful.
He released his 1971 album, Peace?, on Yambo and singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues, he worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. In his years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence, a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits.
It's better keeping the roots alive. The blues are the roots of all American music; as long as Americ
David Grisman is an American mandolinist. His music combines bluegrass and jazz in a genre he calls "Dawg music", he founded the record label Acoustic Disc, which issues his recordings and those of other acoustic musicians. Grisman grew up in a Conservative Jewish household in New Jersey, his father was professional trombonist. As teenager, he played piano and saxophone. In the early 1960s, he went to college at New York University, he belonged to the Even Dozen Jug Band with John Sebastian. He played in the bluegrass band the Kentuckians led by Red Allen in the psychedelic rock band Earth Opera with Peter Rowan, he moved to San Francisco, met Jerry Garcia, appeared on the Grateful Dead album American Beauty. He played in Garcia's bluegrass band In the Way with Peter Rowan and Vassar Clements. Garcia named him "Dawg" after a dog, following him while they were driving in Stinson Beach, California. "Dawg Music" is what Grisman calls his mixture of bluegrass and Django Reinhardt/Stéphane Grappelli-influenced jazz as highlighted on his album Hot Dawg.
It was Grisman's combination of Reinhardt-era jazz, folk, Old World Mediterranean string band music, as well as modern jazz fusion that came to embody "Dawg" music. In the 1970s, he started the David Grisman Quintet with Darol Anger, Joe Carroll, Todd Phillips, Tony Rice, they released their first album in 1977 for Kaleidoscope Records and their second, Hot Dawg, two years for Horizon Records, the jazz division of A&M Records. When the quintet recorded for Warner Bros. Records, the membership changed to include Mike Marshall, Mark O'Connor, Rob Wasserman, with occasional guest appearances by jazz violinist Stéphane Grappelli. In the 1980s, Grisman formed the record label Acoustic Disc, which issued his recordings and those by other acoustic musicians. Over time, he might be most remembered for publishing a large amount of the world's best mandolin music. Beginning in the 1990s, he released albums with a more jazz oriented sound when he recorded with bassist Jim Kerwin, drummer George Marsh, guitarist Martin Taylor.
But the folk and bluegrass part of his personality emerged when he recorded with Mark O'Connor, Tony Rice, Andy Statman. On the albums Tone Poems and Tone Poems 2, he recorded traditional jazz and folk songs on vintage guitars and mandocellos that were built at the time the songs were composed. Grisman was married twice before, he has three grown children: Samson and Monroe. Samson, a bassist and recording session musician living in Portland performs with his father. Gillian, a filmmaker living in Novato, directed Grateful Dawg and the music documentary, Village Music: Last of the Great Record Stores. Monroe, named for bluegrass music pioneer Bill Monroe, lives in Fairfax and plays in the Tom Petty tribute band Petty Theft. Grisman's song "Dawggy Mountain Breakdown" was the opening theme song for Car Talk on NPR. Grisman sued YouTube in May 2007, asserting in federal court that YouTube should be required to prevent individuals from illegally uploading recordings of his music. Grisman's attorneys requested voluntary dismissal of the suit.
The documentary Grateful Dawg chronicles the friendship between David Grisman. Grisman was a judge for the 6th and 7th annual Independent Music Awards to support independent artists, he wrote much of the bluegrass music for the 1974 film Big Bad Mama directed by Roger Corman. It was played by the Great American Music Band, they were recorded and mixed by Bill Wolf. Acoustic Disc is an independent record label founded by Grisman in 1990; the label is based in San Rafael and specializes in bluegrass, folk and Dawg music. Dawg.net Dave Grisman/Acoustic Disc official website David Grisman at The Music Box Collection of reviews David Grisman discography at the Grateful Dead Family Discography
Stéphane Grappelli was a French jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands, he has been called "the grandfather of jazz violinists" and continued playing concerts around the world well into his 80s. For the first three decades of his career, he was billed using a gallicised spelling of his last name, reverting to Grappelli in 1969; the latter, Italian spelling, is now used universally when referring to the violinist, including reissues of his early work. Grappelli was born at Hôpital Lariboisière in Paris and christened with the name Stéfano, his father, an Italian Marchese, Ernesto Grappelli, was born in Alatri and his French mother, Anna Emilie Hanoque, was from St-Omer. His father was a scholar who taught Italian, sold translations, wrote articles for local journals, his mother died. Though living in France when World War I began, his father was still an Italian citizen and was drafted to fight for Italy in 1914.
Having written about American dancer Isadora Duncan, living in Paris, Ernesto Grappelli appealed to her to care for his son. He was enrolled in Duncan's dance school at age six, he learned to love French Impressionist music. With the war encroaching, Duncan as an American citizen fled the country. Ernesto Grappelli entrusted his son to a Catholic orphanage. Grappelli said of this time: I look back at it as an abominable memory... The Place was supposed to be under the eye of the government. We slept on the floor, were without food. There were many times when I had to fight for a crust of bread Grappelli compared his early life to a Dickens novel and said that he once tried to eat flies to ease his hunger, he stayed at the orphanage until his father returned from the war in 1918, settling them in an apartment in Barbès. Having been sickened by his experiences with the Italian military, his father took him to city hall, pulled two witnesses off the street, had his son nationalized as a Frenchman on July 28, 1919.
His first name "Stéfano" was Gallicized to "Stéphane". He began playing the violin at age 12 on a three-quarter sized violin that his father bought after pawning a suit. Although he was sent to violin lessons, he preferred learning on his own. My first lessons were in the streets, watching how other violinists played... The first violinist that I saw play was at the Barbès métro station, sheltered under the overhead metro tracks; when I asked how one should play, he exploded in laughter. I left humiliated with my violin under my arm. After a brief period of independent learning, he was enrolled at the Conservatoire de Paris on December 31, 1920, which his father hoped would give him a chance to learn music theory, ear-training, solfeggio. In 1923 Grappelli graduated with a second-tier medal, his father moved to Strasbourg. Grappelli remained in Paris. At age 15, Grappelli began busking full-time to support himself, his playing caught the attention of an elderly violinist who invited him to accompany silent films in the pit orchestra at the Théâtre Gaumont.
He played there for six hours daily over a two-year period. During orchestra breaks, he visited Le Boudon, a brasserie, where he would listen to songs from an American proto-jukebox. Here he was introduced to jazz, he was playing in the orchestra at the Ambassador in 1928 when Paul Whiteman was performing with Joe Venuti. Jazz violinists were rare, though Venuti played commercial jazz themes and improvised, Grappelli was struck by his bowing when he played "Dinah", he began developing a jazz-influenced style. Grappelli lived with a classically trained violinist. Warlop admired Grappelli's jazzy playing, Grappelli envied Warlop's income. After experimenting with piano, Grappelli stopped playing violin, choosing simplicity, new sound, paid performances over familiarity, he began playing piano in a big band led by a musician called Grégor. After a night of drinking in 1929, Grégor learned. Grégor borrowed a violin and asked Grappelli to improvise over "Dinah". Delighted, Grégor urged Grappelli to return to violin.
In 1930, Grégor ran into financial trouble. He was involved in an automobile accident that resulted in deaths, fleeing to South America to avoid arrest. Grégor's band reunited as jazz ensemble under the leadership of pianist Alain Romans and saxophonist André Ekyan. While playing with this band, Grappelli met gypsy jazz guitarist Django Reinhardt in 1931. Looking for a violinist interested in jazz, he invited Grappelli to play with him at his caravan. Although the two played for hours that afternoon, their commitments to their respective bands prevented them from pursuing a career together. In 1934 they met again at Claridge's in London and they began a musical partnership. Pierre Nourry, the secretary of the Hot Club de France, invited Reinhardt and Grappelli to form the Quintette du Hot Club de France with Louis Vola on bass and Joseph Reinhardt and Roger Chaput on guitar. In 1937, American jazz singer Adelaide Hall and her husband Bert Hicks opened the nightclub La Grosse Pomme in Montmartre.
She hired the Quintette as one of the house bands. In the neighborhood was the artistic salon of R-26, at which Grappelli and Reinhardt performed regularly. For the first three decades of his musical career, Grappelli was billed "Stéphane Grappelly", a Gallicized form of his name, he took back the Italian spelling of his last name, he said, to keep people f
DownBeat is an American magazine devoted to "jazz and beyond", the last word indicating its expansion beyond the jazz realm which it covered in previous years. The publication was established in 1934 in Illinois, it is named after the "downbeat" in music called "beat one", or the first beat of a musical measure. DownBeat publishes results of annual surveys of both its readers and critics in a variety of categories; the DownBeat Jazz Hall of Fame includes winners from both the readers' and critics' poll. The results of the readers' poll are published in the December issue, those of the critics' poll in the August issue. Popular features of DownBeat magazine include its "Reviews" section where jazz critics, using a'1-Star to 5-Star' maximum rating system, rate the latest musical recordings, vintage recordings, books. DownBeat was established in 1934 in Illinois. In September 1939, the magazine announced that its circulation had increased from "a few hundred five years ago to more than 80,000 copies a month", that it would change from monthly to fortnightly from the following month.
In April 1979, DownBeat went to a monthly schedule for the first time since 1939. DownBeat was named Jazz Publication of the Year in 2016 and 2017 by the Jazz Journalists Association; the DownBeat Jazz Hall of Fame's current membership, by year, is listed in the following table. The Readers' Poll began in 1952, the Critics' Poll in 1961, the Veterans Committee in 2008. 2008: Jo Jones, Jimmie Lunceford, Erroll Garner, Harry Carney, Jimmy Blanton 2009: Oscar Pettiford, Tadd Dameron 2010: Baby Dodds, Chick Webb, Philly Joe Jones, Billy Eckstine 2011: Paul Chambers 2012: Gene Ammons, Sonny Stitt 2013: Robert Johnson 2014: Bing Crosby, Dinah Washington 2015: Muddy Waters 2016: Hoagy Carmichael 2017: Eubie Blake, George Gershwin, Herbie Nichols 2018: Marian McPartland The Mary Lou Williams Women in Jazz Award International Association for Jazz Education Grammy Lifetime Achievement Award BBC Jazz Awards NEA Jazz Masters Benny Heller Down Beat website "About Down Beat: A History As Rich As Jazz" The Jazz Journalists Association Lifetime Achievement Award Nesuhi Ertegun Jazz Hall of Fame Arts For Art Lifetime Achievement Award NAMM Oral History Interview with Kevin Maher January 25, 2014 DownBeat Critics Poll Archives at Acclaimed Music Forums