I think nominations should be separated by
3. each year dedicated to a Jazz Composer trailblazer pioneer.
I don't appreciate when a Performer wins a "Grammy" over runner up Composer/Performers, especially if the Performer is doing mostly "covers", or when the Awards event is dedicated, for example, to Dizzy and not to Roy Eldridge, or worse, to a non-American! Though appreciated worldwide - JAZZ and BLUES ORIGINATED IN AMERICA.
I also think nominees should be limited to U.S. born and bred for at least the first decade; and voting open to worldwide members who should join at levels beginning at a small fee, say $10. and members volunteer at the annual event (like IAJE, rest in Peace!).
I agree with you about separating performers/composers from performers. Also, about a special award each year to a composer trailblazer. I don't know how we would handle a situation if some of the musicians were born in Africa, Puerto Rico or other islands. They too are part of the African diaspora and also carry the Legacy. We can solve the problem of keeping the perpetrators out by going by artistic talent and not by commercial success. If we go by artisitc value, this will give us the opportunity to recognize the small independent labels that are owned by many musicians. Do we need an organization to sponsor this event?
The Jazz Network is exactly what the title suggests, a place where you get to mix and mingle with those who have not only an appreciation for Jazz but a forum to hear new up and coming artists as well. I've hooked up with so many of my old friends that I've lost contact with over the years here and it's been a great place to meet folk, appreciate good music and Musicianship. What an incredible idea!!
The great composer and bandleader was distraught over the 1967 death of Billy Strayhorn, his songwriting and arranging partner of 28 years. But Ellington took Strayhorn's passing as an impetus, born of necessity, to increase his own productivity. Here are five examples.
At the Village Vanguard, one flight down from the hubbub of New York City, in a tight space packed with people, we're about to embark on a musical odyssey by sea. Our captain is saxophonist Chris Potter, who's launching his Odyssey-inspired album The Sirens.
Divine: The Jazz Albums, 1954-1958 packs four CDs with Vaughan's music, recorded live or in the studio with bands big and small. Two live albums from Chicago nightclubs are standouts, partly when a performance threatens to slide off the rails.