Eli Yamin presents first ticketed live stream concert for Global Music Foundation.
My first professional jazz job at WBGO/Jazz 88.
Enid Farber took this photo when I was 21 and working my first professional jazz job at WBGO Jazz 88.3. I was a Board Operator, sub DJ and producer of Jazz From the Archives hosted by the staff of the Rutgers University Institute of Jazz Studies and Portraits in Blue with Bob Porter. l was incredibly fortunate to learn from mentors Dorthaan Kirk, Wylie Rollins, James Browne, Michael D. Anderson, Rhonda Hamilton Carvin, Becca Pulliam, Gary Walker, Chico Mendoza, Larry D’Albero, Duke Markos, Alfredo Cruz, Paul Fowlie, Jim Anderson, Loren Schoenberg, Dan Morgenstern, Vincent Pelote, Ed Berger, Bob Porter, and the many artists who came through. Working at WBGO was an essential part of my journey to make a career in the arts and I do my best to pass along what I’ve learned to the next generation through Jazz Power Initiative. In addition, I wrote a blog for parents of children who set out for careers in the arts. Even in hard times like these, I say to parents of young people who strike out on this path. “It’s okay, it’s okay. This world needs the beauty, creativity, unity and strength your son/daughter offers, now more than ever. Just help them be prepared to be flexible, pay some dues, and listen carefully. In this way they will know how best to be of service to the community and keep working.”
Lord, Please Protect Black Men by Eli Yamin
Lord, please protect black men
Who have carried our cross in America for too long
Who watch birds
Who design and build bridges
Who invent
Who teach
Who raise children
Who write music
Who play the saxophone, trumpet, piano, drums, tuba, bass, and violin.
Lord, please protect black men. Like the brilliant and generous black men who have protected, taught, helped, and guided me. I’m thinking of, and celebrating and feeling immense gratitude for:
- Barry Harris
- Harry Pickens
- Kenny Barron by Galbinski
- Walter Perkins
- Knoel Scott by Enid Farber
- Bob Stewart by Galbinski
- Amiri Baraka
- Harold Ousley
- Howard Johnson
- Marion Cowings
- Dwayne "Cook" Broadnax
- David F. Gibson by Galbinski
- Wynton Marsalis
- Dr. Horace Boyer
- Michael Flythe
- Sir Roland Hanna
- Vincent Pelote
- Hank Jones
- Keith Copeland
- Illinois Jacquet
- Bross Townsend
- Eli Yamin and Damien Sneed at Mesa Arts Center, Arizona
- Jaki Byard
How Maxine Greene influenced my work these past 20 years…
“I hope you think about the wonder of multiple perspectives in your own experience. I hope you think about what happens to you when it becomes possible to abandon one-dimensional viewing, to look from many vantage points and, in doing so, construct meanings scarcely suspected before… Our object…where young people are concerned, is to provide increasing numbers of opportunities for tapping into long unheard frequencies, for opening new perspectives on a world increasingly shared. It seems to me that we can only do so with regard for the situated lives of diverse children and respect for the differences in their experiences.” Maxine Greene, Variations on a Blue Guitar (pp. 187, 189)
It was an honor to present a lecture at the Maxine Greene Institute at The New School this past Sunday, December 15. The event was organized by my dear colleagues Holly Fairbank, Heidi Upton and Jean Taylor who serve on the board of The Greene Institute and remain actively involved in educating people around the world about Greene’s essential work.
The lecture gave me a precious opportunity to look back at the past 20 years of my teaching practice since I met Maxine Greene at Lincoln Center Institute for the Arts in Education in 1999. I was invigorated to see the fruits of seeds she planted with her words, concepts, and models expressed by my students. This is certainly true at Jazz Power Initiative, the organization I co-founded in 2003 and continue to lead. I was happy to share the breadth of our work in this video by Josh Robertson with supervision from Emmy Award Winner, Phil Bertelsen:
I also took some time to review the work I did at Jazz at Lincoln Center when I served as founding Director of the Middle School Jazz Academy and led the program from 2005-2016. Luckily, I came across two videos that boldly illustrate what we accomplished in my time there–the active marriage of skills-based and aesthetic-based arts education through jazz.
The first video from 2014 shows my 11-13-year-old students performing Perdido. This song was composed by Juan Tizol (from Puerto Rico) and made famous by the Duke Ellington Orchestra. The arrangement showcases the peak of what these students can play in an ensemble as well as multiple short solos in quick sequence giving multiple perspectives/experiences on the solo art of jazz. The students in this video had been playing a range of 6 months to 2 years when they recorded it. Their progress in that short amount of time is remarkable.
The following video shows many of these same students performing free improvisations in front of abstract works of art by extraordinary African American painters on display at the Michael Rosenfeld Gallery. The video is 10 minutes and if you hang in there until the end, you will hear amazingly rich comments from the students on their experience at the gallery. At the Maxine Greene Institute presentation, this was the highlight. It’s what we live for in Aesthetic Education–students from diverse backgrounds articulating their experience of complex works of art, taking their own perspective seriously and expressing their intelligence and sensitivity around peers and elders with poise and confidence. Wow, wow, wow…enjoy and please let me know what you think!
Happy Holidays and may 2020 bring new openings and imaginative breakthroughs!
Eli


Jazz Power Initiative 15th Anniversary Celebration
It’s amazing to see this dream come this far–Jazz Power Initiative, the non profit I co-founded in 2003 with Clifford Carlson, is turning 15 years old. Jazz Power is one feisty teenager, let me tell you. Based in upper Manhattan, our uptown programs in Harlem and Washington Heights are thriving with 30 teens receiving scholarships to attend our 12-week training in piano keyboard, singing, dancing and acting. We also continue to host our monthly Intergenerational Jazz Jams at National Jazz Museum in Harlem on the second Sunday and we are gearing up for our 5th Annual Jazz Power Institute, a two-day training for artists and teachers on teaching jazz across the curriculum.
I’ve turned 50 this year and take great delight in seeing youngsters coming up through our programs, embracing jazz culture and sharing the responsibility to spread the brilliance of this music to the next generation as well as our elders. Together we are doing all we can to make a positive difference in the world by bringing joy and fellowship through music. I hope you can join us at our 15th Anniversary Celebration, or another one of our programs or by making a financial contribution to this work I hold so dear at Jazz Power Initiative.
Big announcement: BLUES BOOK RELEASED!
Rowman and Littlefield Publishers in collaboration with the National Association of Teachers of Singing (NATS) has released my book, So You Want to Sing the Blues. This book is the gathering of many of my life experiences being inspired, guided and uplifted by the blues since I was a child. It is also the result of precious mentorship I received from blues masters Walter Perkins, Amiri and Amina Baraka and many others as well as serious study of the voice for the past ten years with Jeanie LoVetri and Darrell Lauer. The book has chapters on:
Origins of the Blues
Singing and Voice Science by Scott McCoy
Vocal Health by Wendy LeBorgne
The Magic and Mechanics of Singing the Blues by Darrell Lauer with Eli Yamin
Developing Authentic Style Characteristics: Early Blues Women
Developing Authentic Style Characteristics: Early Blues Men and Another Woman
Developing Authentic Style Characteristics: Chicago Blues and the Modern Blues Sound
Making a Soulful Sound and Writing Your Own Blues
Using Audio Enhancement Technology by Mathew Edwards
This book is designed to be a resource for people new to the blues to understand the African American cultural traditions that create and sustain the it AND for blues performers experiencing vocal challenges who could use more techniques for healing and strengthening the voice for more flexibility and stamina.
There are links throughout to MUSIC because the blues masters are, of course, the best resource for learning and going deeper in understanding the blues.
For me, it was a thrilling journey to read, watch and listen to everything I could on the blues and distill it to what I hope is a compelling resource for performers for years to come. Here’s an excerpt from the introduction:
“Sure, I play and sing other kinds of music–jazz in particular–but I always come back to the blues. The blues is the foundation. The blues is the source. The blues is strength. It connects you with a lineage that goes back hundreds, possibly thousands, of years. The blues is life force and creativity. The blues is personal and collective. The blues makes people move, and the blues is real. When you immerse yourself and share what you have in the blues, your body, mind and soul and those around you are uplifted.
Whereas the blues can do all this, it is not easy. So often, the blues gets defined in small ways. But the blues blues is not small. The blues is huge…”
To order, please follow one of the links below. I hope you like the book. Please do let me know and/or write a review on Amazon as it will boost sales and help more people get more blues. Thank you!
Eli
Rowman and Littlefield Publisher
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Why We Play Jazz by Eli Yamin
Dear Contestants of Kamerton’s We are Playing Jazz Festival,
The Birds Sing First by Eli Yamin
Have you ever noticed?
The birds sing first.
I mean, they have a lot to do, right? Gather food, fix up their nest. Even so, they make time to sing. That’s how they always START. Makes me think of this…
Once there was a town where everyone sang first. There was a song for everything. Waking up, going to sleep, eating, dressing, walking, driving, riding, studying, playing, visiting, arguing, figuring stuff out—a song for everything. That’s how it was. Sing first.
When young people reached 4th or 5th grade, they were offered an instrument to go with the songs. They played saxophones, trumpets, trombones, violins, basses, pianos, guitars and drums. They played all the time. For games, graduations, assemblies, parades, fairs, parties and ceremonies. And when the children were grown, some didn’t play as much but they listened—oh how they listened! Listened so hard their teeth hurt. And the ones who kept playing, played so well they played like no one ever played before—inventing, bending notes, scooping, soaring, swinging and playing the blues. Count Basie, Duke Ellington, Mary Lou Williams, Billie Holiday, Benny Goodman were some of their names.
Oh, and did I mention, the people danced? Like no one had danced before—jumping, leaping, catching, syncopating, letting go and holding on. The music brought people together. Black, White, Latino, Asian. It healed us…
This place was here in New York City, in the United States.
It is hard to understand when, how, or why we stopped singing—when, how or why we stopped giving instruments to our children. People will give many reasons and none of them make any sense.
Dewey Redman said, “Music makes us smarter, happy and healthier.” Why stop?
Louis Armstrong said, “What we play is life.” Why stop?
Willie Dixon said, “The blues is the roots. Everything else is the fruits.”
We’d have to be CRAZY not to play? Don’t you think?
So don’t be crazy—keep playing. Don’t be crazy—keep singing. Don’t be crazy—keep dancing.
And if anybody ever tells you to stop, you tell him what Dewey, Louie or Willie said. Or simply ask—have you ever noticed?
The birds sing first.
Jazz at Lincoln Center (4/30/16)
Euro Asian Premiere of Message From Saturn
I am so happy to share this video of the title song of Message From Saturn from the Euro Asian premiere in Yeketerinburg, Russia in November of ’16. The joy generated in this intergenerational and cross cultural collaboration melted the ice. Here’s to more blues in 2017!
Why we need the blues NOW by Eli Yamin
When your baby left you, you need the blues. When you can’t get satisfied, you need the blues. When the one you love takes up with someone else, you need the blues. And when you feel you’ve been mistreated, you have got to have the blues.
The blues is bad. Playing the blues is good. It relieves suffering and pain. Maybe for just a while, but then again, that’s life, right? Each moment gives away to the next maintaining an ongoing state of impermanence. And yet, plugging into the blues by playing it and listening to it with friends, connects you with something eternal and real.
The blues is a real as real can be. Created in the rural Southern United States by formerly enslaved African Americans enduring ongoing acts of arbitrary and calculated violence, emotional abuse and material deprivation by a system of preference based on white supremacy; the blues addresses fear. The blues is true. No sugar coating.
If you are lonely you sing “yes I’m lonely—“ owning it—admitting weakness and vulnerability and through this process revealing your own truth. The blues fosters a way of being that accepts reality—the bitter and the sweet—but is not overly attached to it. As long as there is a way to play the blues, there is hope and a pathway to fellowship, community and ultimately—love.
Today, the feeling of the blues is all around us. Conflicts around power, money and the way we treat each other shake our societies to their core. And there in the background is blues music, humbly forming the foundation for popular music all over the globe. The blues made jazz, rock and roll, R & B, and hip-hop. The blues combines east and west, rich and poor, black and white to make a musical form that offers an intoxicating mix of freely expressive singing, steady polyrhythm spiced with syncopation and personal story telling. The blues invites you to holler, cry, scream and moan as needed. The blues invites the audience to respond and co-sign its themes in real time thereby creating a call and response circle of repair.
The blues is older than all of us and will still be here when we are gone. We can find the recordings of its great pioneers with the touch of a button, the click of a mouse. Have you heard B.B. King’s “Three O’ Clock in the Morning,” lately? How about Bessie Smith’s “Backwater Blues,” or Robert Johnson’s “Come On In My Kitchen”? Each are masterpieces of human expression.
For musicians, these recordings contain the keys to language of the soul. Getting to know the work of Memphis Minnie, Leroy Carr, Muddy Waters, Lightning Hopkins, Dinah Washington and Joe Williams opens doors. It has taken me literally around the world. Listen to “Midnight Moan” from Howlin’ Wolf. Your molecules will be rearranged.
Musicians–Let’s play more blues to repair, to heal, to transform.
Listeners-let’s be honest and be together with the blues. More blues for a more better world.