“The Armstrong Continuum” is a night of music featuring some of the nation’s most significant jazz artists playing music associated with the ongoing legacy of Louis Armstrong. The concert includes performances by a quartet led by Kidd Jordan, known as the dean of avant garde music in New Orleans. Jordan will receive the coveted SATCHMO Award from the Louis Armstrong Educational Foundation, Inc. in November 2017.
This evening also will showcase the Louis Armstrong Tribute Band All Stars, performing Armstrong compositions and music he made famous. This band will explore and celebrate Armstrong’s central role in the creation and development of jazz and other modern musical forms. Lead by trombonist Wycliffe Gordon, the Armstrong Tribute Band All Stars includes Herlin Riley, Courtney Bryan, and other leading lights from the contemporary music scene: from today’s dynamic “Armstrong Continuum.”
Kellie Jones, Art History and Archaeology, and Farah Griffin, English and
Kellie Jones, Art History and Archaeology, and Farah Griffin, English and Comparative Literature
Kellie Jones, Art History and Archaeology, and Farah Jasmine Griffin, English and Comparative Literature Introduction by Deborah Cullen, Miriam & Ira D. Wallach Art Gallery In South of Pico, Kellie Jones explores how the artists in Los Angeles’s black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.’s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.’s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists’ relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond. Complex Issues explores difference, visibility, and representation through recent work by faculty of Columbia University and Columbia University School of the Arts in particular. Conversations invite challenging questions of racial, ethnic, gender, economic, sexual, religious, and cultural complexity, and how they are articulated across discipline and genre today.
This event is preceded by a special opportunity to view Living in America: Frank Lloyd Wright, Harlem & Modern Housing, Wallach Art Gallery, 5:30-6:30pm. Co-presented by the Department of Art History and Archaeology; the Center for Jazz Studies; Columbia University School of the Arts; the Institute for Research in African-American Studies; and The Miriam & Ira D. Wallach Art Gallery.
In response to the increasing inaccessibility of jazz performances in Harlem, Dr. Billy Taylor founded Jazzmobile in 1964, a not-for-profit arts organization that presents free, professional, live jazz concerts in order to bring jazz “back to Harlem.” Jazzmobile has presented free, live jazz concerts continuously for over fifty years, through which audiences, production teams, organizers and musicians sound and listen to amplified jazz at historical sites in Harlem’s outdoors. Jazzmobile, Community, and the Harlem Soundscapeengages how Jazzmobile constructs community and the soundscape of Harlem in the midst of Harlem’s changing milieu. The program features performances by Jazzmobile all stars, a keynote address interrogating Jazzmobile as cultural repatriation and a roundtable discussion with Jazzmobile audience members.
This event is Co-Presented by The Center for Jazz Studies, Music at St. Paul’s and Jazzmobile
The history of black improvised music brims with parables of resistance. Time and time again, in the face of oppression, artists and improvisers have raised their voices in sonorous defiance. What does this legacy mean at this moment, in 2017, as artists and citizens face new incarnations of old demons?
On June 1, Arts for Art, in collaboration with Columbia University, and the University of Pittsburgh, will convene its second one-day symposium of scholars, artists, and scholar-artists to address these and related issues.
Central themes will include:
The role of radical art in modern resistance movements
Musical responses to and resonances of Black Lives Matter
Improvised music’s long tradition of protest
International networks of artistic activism
Waging peace and cultivating shared humanity
The conference will feature a keynote address by poet and scholar Fred Moten, along with presentations by Ingrid Monson, Benjamin Piekut, Fumi Okiji, and Adam Zanolini. It will also include a roundtable of artists and improvisers speaking on activism and social justice. A full schedule is printed below.
Thursday, June 1, 2017
Maison Française (Buell Hall) East Gallery,
515 W 116th St, New York NY 10027
Columbia University, New York, NY
This conference is free and open to the public, but pre-registration is required.
Organizing Committee: Scott Currie (University of Minnesota), Brent Hayes Edwards (Columbia University), Michael Heller (University of Pittsburgh),Fred Moten (University of California, Riverside), Patricia Nicholson Parker (Arts for Art)
Sponsored by: Arts for Art, Inc., Columbia University Center for Jazz Studies, Columbia University Office of the Dean of Social Sciences, University of Pittsburgh Jazz Studies Program