We let the artists do the talking.
L'histoire de JazzStand, traduite de la langue du Jazz.
La historia de JazzStand, traducida de la lengua del Jazz.
Die Geschichte von JazzStand, übersetzt aus der Sprache des Jazz.
「ジャズスタンド」はジャズのライブステージ。• Jazzstand, une scène pour le Jazz • JazzScenario, un escenario para el jazz • JazzStand, eine Buehne fuer Jazz • JazzStand, a bandstand for jazz.
- We don't make music.
- Our invited artists make music.
- JazzStand makes live music happen.
- It takes a community to make live music happen.
- JazzStand builds and feeds that community.
We don't sell tickets. Our concerts are open to everyone of any age, free of charge, so we can't offer tickets as backer rewards.
Everyone who comes through our door is an important person. Very important. Every seat at a JazzStand concert is open to anyone on a "first come, first served" basis. A sit-down reception with the artists follows every JazzStand concert. Everyone is invited to stay. Because we aim to make JazzStand a VIP experience for everyone who shows up, we can't offer a VIP package as a reward level. It's already available at every level.
We don't make T-shirts, hats, tote bags, mugs (except that one time*), doorstops, bottle openers, key fobs, or CDs. We don't offer any of these as backer rewards, because we don't make them.
What do we make?
- We make a free concert happen every second Tuesday of the month, September through May. Three or four concerts during the Holiday Season, and two in January. A total of twelve or thirteen concerts each year.
- We make sure our artists get paid. Artist pay is the biggest part of our annual budget. When you back JazzStand, A Bandstand for Jazz, you are putting wherewithal directly into the artist's pocket.
- We make opportunities for artists to imagine what they would do in a context of absolute freedom. Then we get as close to absolute freedom as we can.
- We make a signature image designed to amplify the artist's intention. We use that image to create flyers, social media campaigns, newsletters, and printed concert programs.
- We make our presence known online at jazzstand.org, a platform where we can celebrate and inform our artists and patrons.
- We make live improvised music of the highest quality accessible to everyone.
Kickstarter is "all or nothing." If we don't make our $5,000 initial goal, we collect nothing.
Stretch goals are funding targets that we have set above and beyond our original Kickstarter goal. Stretch goals are a way for JazzStand to "stretch" beyond the initial, official goal of our Kickstarter project and raise more money. More money means more opportunity for artists and higher production values that improve the JazzStand experience for artists and audiences alike.
So long as JazzStand meets our official stated funding goal of $5,000, we will be able to collect any funds pledged in excess of that goal, whether we meet the specific stretch goal levels or not. Any amounts raised that fall between stretch goal targets will be applied directly to the cost of regular season concerts and receptions with the artists.
Four Stretch Goals:
- Improving our sound system to provide our artists with the best monitoring and amplification that can be integrated with the native public address system at Wilshire Baptist Church. In order to take full advantage of the artistic freedom that we aspire to give our musicians, the artists must be able to hear themselves.
- Reintroducing The Bandstand Academy, our annual big band show featuring a guest mentor with decades of bandstand experience backed by the Brad Leali Jazz Orchestra, as part of the Twenty-third Season. Past presentations featured Barbara Morrison (2016) and Cynthia Scott (2017). While this rehearsal (open to students) and concert together comprise the most expensive project of our season, The Bandstand Academy gives young artists the opportunity to be mentored by the masters as can only be done on the bandstand in a "big band" setting.
- Building a custom lift dolly to move the Nesbit Organ, our vintage 1951 Hammond C2 and two vintage Leslies, to and from the stage, and restoring the organ and Leslie speakers themselves to top working condition.
- Creating a regular, high quality multi-camera livestream so that artists at JazzStand on Abrams may be seen and heard world-wide.
Stretch Goal No. 1—$15,000 and above.
Integrate native PA system and sound board with jazz appropriate monitoring.
Stretch Goal No. 2—$30,000 and above.
Bring back The Bandstand Academy.
In a master class, all the students watch and listen as the master takes one student at a time. Often, a touring artist will give a master class the day before a performance in a particular city. TBA: The Bandstand Academy innovates on the master class model by taking the master class, students and all, out of the classroom and onto the bandstand. TBA: The Bandstand Academy consists of one semi-public rehearsal (open to community students and teachers only) and one public concert performance, open to all free of charge. The performance is a big band show featuring the Brad Leali Jazz Orchestra under the direction of University of North Texas Professor of Jazz saxophone Brad Leali. The rehearsal and concert feature a master jazz artist with worldwide experience chosen to exemplify the performance skills gained only by many hours on the bandstand with the notable band leaders in the field. The Brad Leali Jazz Orchestra is comprised of current or former students or faculty from UNT.
Veteran jazz masters are invited to participate in TBA at the recommendation of Brad Leali. From 1989 to 1994, Brad Leali was lead alto saxophonist for the Harry Connick, Jr., Orchestra, serving as its musical director from 1990 to 1994. In 1995, he joined the Count Basie Orchestra. Leali has been a staple in legendary jazz venues like the Village Vanguard, Blue Note, Jazz Standard, Iridium, and Birdland. He performs annually as part of the Kennedy Center Honors program.
During our 20th and final season as Tuesday Nite Jazz, the series now known as JazzStand on Abrams conceived TBA: The Bandstand Academy to answer a pressing need for the continued vitality of the deep bandstand traditions that have informed jazz performance for generations. If we are to enhance understanding of and respect for jazz cultural performance traditions, preserve the unique contribution of America to the world's musical heritage, and advance forms of expression that arose in the historically under-served African American oral tradition for creating and preserving musical ideas, we must bridge the generation gap.
"What's happening now, to be blunt, is that the musicians who had the opportunity to hone their performance skills on the road with greats like Art Blakey and Betty Carter and Horace Silver are passing on. Today's young musicians no longer have that opportunity. Most of what they know of deep jazz traditions they will learn from recordings and video. When we don't have that bandstand interaction, we lose that element of the music. TBA is conceived to transfer the wisdom of generations to the young artist." —Professor Brad Leali
"Working with Ms. Morrison was such a moving experience. Having the opportunity to play in a large ensemble behind such a talented singer and story teller is one of those musical experiences that makes all the hard work we put into the music worth it. This event certainly helped remind me why music is the the right career for me, and I look forward to attending and participating in more events in the future!"
"Brett M. Lamel" (Solo Trombone, Two O’Clock Lab Band, Jazz Studies, University of North Texas)
"As a student at the esteemed University of North Texas and a professional freelance musician in Dallas-Fort Worth, the opportunity to perform with Barbara Morrison was a dream come true. What more could you ask for; playing lead trumpet with a terrific band, only to back up one of the best jazz vocalists of our time.
"This event was an unparalleled educational experience for me with one of the jazz greats. Barbara sang with the conviction of an undefeated army, so what choice did we have other than to follow suit? Not all musicians have the opportunity and honor to work with legends of this level. The best way to learn music is through being around musicians greater than you, and this was a perfect example of just that. It felt as if a torch were being passed from one generation to the next. The band swung harder, played more confidently than ever before, and there was a sense of being one on stage that has never been felt before by me and my fellow musicians. Barbara was able to harness energy and create this not only on the bandstand, but also in the audience.
"Education on the bandstand like this cannot be replicated in the classroom. The only way to do is to do. My colleagues and I walked away with a greater sensibility of what is happening around us, a greater sense of swing, and a better idea of what swing is about. Barbara accomplished all of this through song. Not only that, but the audience also walked away happy and uplifted. This event, without a doubt, was a home run for Tuesday Nite Jazz [as JazzStand was then known]. How could we not continue this night for years to come? A replica of this opening night, with different jazz masters headlining in the mentoring role, would be memorable year after year. This event affected all in attendance and it was honor to be part of it.
"I can only hope for the continuation of such events in the future.
"Joshua K. Kauffman" (Trumpet, The One O’Clock Lab Band, Jazz Studies, University of North Texas)
Stretch Goal No. 3—$40,000 and above.
Restore the Nesbit Hammond C2 and custom-make a lift dolly.
Charles Edward Nesbit was born on Lombard Row in Philadelphia, Pennsylvania, on June 8, 1929. In 1951 or so, Mr. Nesbit, a church organist, purchased a Hammond C-2 Church Model organ from Jacob Brothers Music Company at 1718 Chestnut Street in Philadelphia. The C-2 was manufactured by the Hammond Organ Company in Chicago from December 1949 through December 1954. In January, 1955, the Hammond B-3 and C-3 models introduced the concept of "Harmonic Percussion," which was designed to emulate the percussive sounds of the harp, xylophone, and marimba. When selected, this feature plays a decaying second- or third-harmonic overtone when a key is pressed. The selected percussion harmonic fades out, leaving the sustained tones the player selected with the drawbars.
The C-2 could be adapted to feature harmonic percussion with the installation of percussion kit, which Mr. Nesbit added in 2001. During the decades between Nesbit’s 1951 Hammond purchase and his passing on December 16, 2006, Charles Nesbit also acquired two vintage Leslies, Models 122 and 22H.
When not playing in church, Charles Nesbit helmed the Charlie Nesbit Organ Trio, a presence on the Philadelphia jazz scene best remembered for “Soul Train,” a single the Trio released on the Salvador label in the early Sixties. Charles Edward Nesbit left his Hammond C-2, two Leslies, and maintenance records to his nephew, a long time friend of our series. We cannot know if the organ featured in the recording of “Soul Train” is the same Hammond C-2 destined for the stage at JazzStand on Abrams, but we can’t be certain that it isn’t, either.
It was the wish of Nesbit’s nephew that the organ find a home where it might be played by the best jazz organists in town and enjoyed by many others. Because the Hammond and Leslies cannot live permanently on the Wilshire Sanctuary pulpit, we will need to custom build a lift dolly to move the setup in and out of storage and lift it up to the height of Wilshire's stage as concerts require. Moreover, the vintage cabinetry and working parts of the organ and Leslies will need a bit of attention in order to perform at their best.
Risks and challenges
We have designed the acknowledgement of our community members at each level to be deliverable in a timely fashion. Our greatest challenge is getting the word out so as to fully engage and expand the community that supports the preservation of the deep jazz traditions passed down on the bandstand.Learn about accountability on Kickstarter
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