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TRIBUTE TO SAMMY NESTICO

THE BOB NOVAL ORCHESTRA

SHELLEY BURNS ~ ACCENTUATE

TRIBUTE TO JOHNNY MERCER

Jaijai, what a wonderful mission you've undertaken to create such a place for artistic minds to meet and share their hearts. A place to renew faded determinations, and revive lessened momentums. A place to display our wares and reconfirm to one another that we actually are on the right track.

I commend you, Jaijai, for caring so much that you created this castle of the heart for all of us. I want to share my praise for all of the new friends as well as old friends that I've met and will meet here in our castle. Here we can garnish the where-with-all, the strength, the conviction, and the selflessness through our symbiosis, to share our gift to the world with an unbiased agenda.

My mentor, Daisaku Ikeda says of art: "A beautiful flower delights and refreshes the hearts of all people equally, no matter what soil it grows in. That is the power of beauty. The same is true of great art. It is this spirit that the German poet Heinrich Heine sang of when he wrote that once the peapod bursts open, the sugar peas inside are for everyone to enjoy."

Let's be audacious, my friends!

Buster Williams

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Meet The Mysteriously Chill (And Weird) Natural Yogurt Band

Two English musicians, with a strange backstory, mine "library music" to create a fuzzy, endlessly vibing sound.

Nellie McKay's Smoldering Voice Takes On Standards Like 'My Romance'

Nellie McKay sings melancholy standards about love on her new album: Sister Orchid. NPR's Scott Simon speaks with McKay about her music that she performs alone.

Harry 'Sweets' Edison On Piano Jazz

On this episode of Piano Jazz from 1999, broadcast just months before Edison died, the legendary jazz trumpeter joins Marian McPartland for a few classics and an original.

First Listen: Brownout, 'Fear Of A Brown Planet'

Inspired by Public Enemy's discography, Brownout's latest batch of Latin funk covers is an instrumental soundtrack that recalls the grooves of late 1970s.

First Listen: Joshua Redman, 'Still Dreaming'

The revered saxophonist leads an agile post-bop group with Ron Miles on cornet, Scott Colley on bass and Brian Blade on drums.

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THE JAZZ NETWORK WORLDWIDE IS AN ORIGINAL ENTITY AND SOLE PROPRIETOR AND HAS NEVER PARTNERED OR AFFILIATED ITSELF WITH ANY OTHER JAZZ NETWORK THAT EXISTS THAT HAS A SIMILAR INTERFACE TO OUR ORIGINAL INTELLECTUAL PROPERTIES, LAYOUT, ADVERTISEMENTS AND GRAPHIC DESIGN.

James William Boyd, D.M.A.
Chief Executive Officer
Louisiana Philharmonic Orchestra

Mr. Boyd,                                                                                                                

First, let me introduce myself by stating unequivocally my appreciation of the LPO and its increasing potency under the direction of Carlos Miguel Prieto. It has truly been an epic rise in the story of post-Katrina New Orleans. I have thoroughly enjoyed the 2017-18 season, with such highlights as Revuelta’s La noche de los Mayas, and Bela Fleck’s Banjo Concerto No. 3.

My name is Esquizito, I am an artist and musician. I have most recently focused my work on the death of Prince, while offering reflections on his life in music. I am writing this letter to express my disappointment and dismay regarding the LPO’s recent concert, A Symphonic Tribute to the Music of Prince - held at the Orpheum Theatre, April 21st 2018.

Programmed on the second anniversary of his tragic passage, the event appeared to offer a worthy ascending of the musical artistry of Prince to the concert stage. And, perhaps, an emotional catharsis that only a full orchestra could provide. As the promotion of “a tribute band” raised suspicions, there was yet an anticipation of virtuosity.

I regret, yet am no less compelled in expressing to you how woefully inadequate this presentation was. From the first moments of the concert, it was apparent to me that: 1) Thomas Wilkins was not conductor, as was previously billed; 2) The musicians comprising the tribute band exhibited none of the level of ability Prince demanded from his bands, instrumentalists and backing singers; and 3) The orchestra was relegated to whole notes and half-notes, lost in repeats, and barely audible.

Indeed, I left my second row center seat after the first three selections.

Now I’d like to relate what happened on my way out of the theatre. My departure was noticed; and I was followed immediately by a young couple who approached me as I stood outside. In fact they had recognized me from a matinee screening of Purple Rain just two weeks prior.

The Mom & Dad looked to me for an explanation. “It’s jive.” was my blunt reply. “We were so looking forward to this!” said Mom. “It’s the first night we’ve had to ourselves since the baby.” I then shared my general view and added that, “A ‘tribute band’ doesn’t preclude virtuosity.” The father also declared his longing, “I wanted to hear, ‘Snow In April…’ played tenderly…”

In summation, I can understand this production as one which was presented to the LPO as an attempt to attract a larger appreciative audience for the orchestra. I suppose I can accept a miscalculation and even an underestimation. I would like to offer a proposal for a future special presentation of the music of Prince, for the LPO, to take place next season, April 21, 2019.

May I meet with you and discuss this potential?

Respectfully,

Esquizito

Maison Musique, New Orleans

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