Fascinating This is a memorable lecture workshop hosted by the incredible Jason Moran.about the life ,music of James Reese Europe So few educators beside Jason and Gunther Schuller have offered serious reflections of this composer .fascinating to hear gems like Ballin the Jack ,all of no Man s Land is Ours, and. Hesitating Blues ..performed by Jason and a trio of local students .impressive also are words by historian Gene Peters. I hope someday we will be able to hear the concert proper which just followed this
While it is laudable and welcome that James Reese Europe is being recognized as an early pioneer of Jazz, I fear that this reinterpretation of Jazz history in relation to Jim Europe will erase so many other figures who were integral to the development of the post-ragtime era. James Reese Europe was part of a collective of musical giants who were his contemporaries and precedents whose music became the standard of the era James Reese Europe impacted. Let's also not forget such musical figures as Ford T. Dabney, who contributed to Jim Europe's musical output as his co-composer during his most celebrated period; Will Marion Cook, who Jim Europe regarded as the greatest composer of his (J.R. Europe's) generation; Samuel Coleridge-Taylor, whose compositions were fodder for reinterpretation by Jim Europe's Clef Club; Eugene Mikell, who continues to be the forgotten giant who did the majority of musical direction and conduction of the 369th Regiment Orchestra. Particularly, after Jim Europe was transferred to the Artillery division during World War I. And is who (Mikell) naturally continued to lead the "Harlem Hellfighters" orchestra after the demise of James Reese Europe (See pg. 19 of "A Chronology and Itinerary of the Career of Eugene Mikell: Materials - UNL Digital Commons - University of Nebraska-Lincoln," available for download. Most important of all, Dr. Nathaniel Clark Smith, whom influenced everyone from James Reese Europe to Wilbur Sweatman to Fletcher Henderson to Duke Ellington. He is credited with introducing the saxophone to the African American community. As an educator, among his students/disciples were Benny Moten, Lionel Hampton, Milt Hinton, Charlie Parker and Nat King Cole, among others to achieve future notoriety. Benny Moten's brass and wind section were students of N. Clark-Smith. Count Basie inherits Benny Moten's brass/wind musicians in his (Basie's) orchestra. Making Clark Smith's influence complimentary to Count Basie's musical legacy. Please allow for a much wider and inclusive platform to this topic which is so important and transcends communities and ethnic boundaries.
I agree very much with this comment .As a European researching this fascinating period in time I would be interested to talk to you , Richie Blondet , to discuss this further .
@@Banjoikey There's a danger in glorifying individuals who comprise cultural phenomenon. James Reese Europe deserves as much attention and accolades as possible. But not at the expense of an entire generation of artists. Who also impacted their era and continue to do so. I've recently witnessed talk of Jim Europe being "Ground Zero" for the Harlem Renaissance. Not only is it preposterous, it's insulting. I'm sure there was no malice behind it but they don't realize the damage being done by hyping someone up for the sake of the public remembering them. There's a responsibility to history that has to be respected. Jim Europe was a great artist. But he is not ground zero for any Renaissance. Asserting so compromises Jim Europe's own development as an artist. For he too was influenced and impacted by others. And that's the story of culture. Collective engagement is how what starts out underground gets to become the mainstream.
@@TONEBHURT While that is true during the period JRE was breathing, within the historical context of the Jazz canon the .usic that Ja.es Reese Europe composed is considered an early manifestation of African diasporic expression in the New World. At the forefront of that expression was the earliest strains of what would become "Jazz" as we know it. The label itself isn't as important as much as the context in which the term was once perceived as during the 19-teens.
Fascinating This is a memorable lecture workshop hosted by the incredible Jason Moran.about the life ,music of James Reese Europe
So few educators beside Jason and Gunther Schuller have offered serious reflections of this composer .fascinating to hear gems like
Ballin the Jack ,all of no Man s Land is Ours, and. Hesitating Blues ..performed by Jason and a trio of local students .impressive also are words by historian Gene Peters. I hope someday we will be able to hear the concert proper which just followed this
Nice video song
When and how, exactly, did Jim meet Noble Sissle?
12:20 Ballin' The Jack!
While it is laudable and welcome that James Reese Europe is being recognized as an early pioneer of Jazz, I fear that this reinterpretation of Jazz history in relation to Jim Europe will erase so many other figures who were integral to the development of the post-ragtime era. James Reese Europe was part of a collective of musical giants who were his contemporaries and precedents whose music became the standard of the era James Reese Europe impacted.
Let's also not forget such musical figures as Ford T. Dabney, who contributed to Jim Europe's musical output as his co-composer during his most celebrated period; Will Marion Cook, who Jim Europe regarded as the greatest composer of his (J.R. Europe's) generation; Samuel Coleridge-Taylor, whose compositions were fodder for reinterpretation by Jim Europe's Clef Club; Eugene Mikell, who continues to be the forgotten giant who did the majority of musical direction and conduction of the 369th Regiment Orchestra. Particularly, after Jim Europe was transferred to the Artillery division during World War I. And is who (Mikell) naturally continued to lead the "Harlem Hellfighters" orchestra after the demise of James Reese Europe (See pg. 19 of "A Chronology and Itinerary of the Career of Eugene Mikell: Materials - UNL Digital Commons - University of Nebraska-Lincoln," available for download.
Most important of all, Dr. Nathaniel Clark Smith, whom influenced everyone from James Reese Europe to Wilbur Sweatman to Fletcher Henderson to Duke Ellington. He is credited with introducing the saxophone to the African American community. As an educator, among his students/disciples were Benny Moten, Lionel Hampton, Milt Hinton, Charlie Parker and Nat King Cole, among others to achieve future notoriety. Benny Moten's brass and wind section were students of N. Clark-Smith. Count Basie inherits Benny Moten's brass/wind musicians in his (Basie's) orchestra. Making Clark Smith's influence complimentary to Count Basie's musical legacy.
Please allow for a much wider and inclusive platform to this topic which is so important and transcends communities and ethnic boundaries.
I agree very much with this comment .As a European researching this fascinating period in time I would be interested to talk to you , Richie Blondet , to discuss this further .
@@Banjoikey There's a danger in glorifying individuals who comprise cultural phenomenon. James Reese Europe deserves as much attention and accolades as possible. But not at the expense of an entire generation of artists. Who also impacted their era and continue to do so. I've recently witnessed talk of Jim Europe being "Ground Zero" for the Harlem Renaissance. Not only is it preposterous, it's insulting. I'm sure there was no malice behind it but they don't realize the damage being done by hyping someone up for the sake of the public remembering them. There's a responsibility to history that has to be respected. Jim Europe was a great artist. But he is not ground zero for any Renaissance. Asserting so compromises Jim Europe's own development as an artist. For he too was influenced and impacted by others. And that's the story of culture. Collective engagement is how what starts out underground gets to become the mainstream.
...looking for more information on the Clef Club and its significance.
James Reese Europe disdained Jazz music. He expressed his distaste of the music in the press during the 1910's.
@@TONEBHURT While that is true during the period JRE was breathing, within the historical context of the Jazz canon the .usic that Ja.es Reese Europe composed is considered an early manifestation of African diasporic expression in the New World. At the forefront of that expression was the earliest strains of what would become "Jazz" as we know it. The label itself isn't as important as much as the context in which the term was once perceived as during the 19-teens.
Coucou les français !!
On a tous le mm devoir
@@ruscucubenjamin2083 oui
T'es pas sérieux 🤣
Mdr Benjamin mdr t la
@@ruscucubenjamin2083 bennraaaamin c fares
Gg
Fares? 😂 C'est Ëlara
@@yohano1524 mdr ça va Elara, on est tous là y avait même Benjamin