WWW.JAZZINCHICAGO.ORGMAY 2020

JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO

gram

FOR A YOUNG JAZZ MUSICIAN, AND YOUNG ARTISTS IN OTHER fields, one of the greatest sources of inspiration can be found in the legacy of the men and women who came before them, carving the path from the past to the future.

As a dedicated member of Chicago's Association for the Advancement of Creative Musicians, Ben Lamar Gay is fully in touch with the work of geniuses present and past who have contributed to jazz in all its forms and styles. On May 8th, we would have seen him sharing the stage with guitarist George Freeman, one of the great artists of his era.

JazzCity, the free admission community series programmed by the Jazz Institute of Chicago, has presented any number of intriguing matchups. But in bringing together Gay and Freeman, who at 93 is as scintillating a stylist as ever, JazzCity would have outdone itself.

A South Side native, Gay was at the start a valuable "inside guy" who lent distinction to many groups in many genres. During several years in Brazil, his artistic reach became even greater. When he released his first album in 2018, he did it in style: Downtown Castles Can Never Block the Sun showed off not only his skills on cornet, but also as a vocalist, hand percussionist, storyteller and intuitive producer who blended jazz, techno, Steve Reich-influenced minimalism, electro R&B and Brazilian music. This production is actually a compilation of songs from seven unreleased albums Gay had recorded, with the hope of releasing them one by one. Such was the enthusiastic response to Downtown Castles, he began doing just that. One of those albums, Confetti in the Sky Like Fireworks drew high praise.

As a horn player, Gay is conversant in the voicings of all eras, from swing to free jazz. That made him an excellent foil for Freeman, who performed with bebop inventor Charlie Parker in the 1940s, recorded soul-jazz albums that inspired the acid jazz movement of the mid-1980s and more recently collaborated with blues luminary Billy Branch.

"Whatever direction you go in, people still want jazz," Freeman said in a 2018 interview. "They want rhythm, they want soul, they want feeling. You gotta do something to get their attention. then once you get their attention, you can do what you want to do. But if you don't get it, you're in real trouble." Suffice it to say, Freeman hasn't been in that kind of trouble very often.

In lieu of this performance that would have taken place at Tuley Park, Ben Lamar Gay has produced a JazzCity tribute video in honor of Eddie Harris. The video will be premiered on Friday, May 15 on the Jazz Institute's Facebook and Youtube pages. n

JazzCity is a free concert series initiated in 1997 by the Jazz Institute of Chicago in collaboration with the Chicago Park District to bring people together from across the city to listen to Chicago’s top jazz musicians. JazzCity is sponsored by WDCB 90.9 FM and WHPK 88.5 FM Radio.

A CONVERGENCE OF GENERATIONS WITH AN ESTABLISHED LEGEND AND A FUTURE ONE!

JAZZCITY 2020 SOUL TO SOUL: A CELEBRATION OF EDDIE HARRIS "LISTEN HERE!" (EVENT CANCELED - MOVED ONLINE)

Ben Lamar Gay

George Freeman

MAY 2020 2J A Z Z I N C H I C A G O

FLATTENED TO ITS FOUNDATION BY FIRE, the warehouse with Rattlesnake Studios located deep inside its premises had only a metal staircase as a survivor.

While walking up these stairs to the second-floor studios, alto saxophonist Greg Ward wondered what happened to the recording he and Caleb Willitz, Rattlesnake’s owner, had completed mixing.

Once upstairs, Ward and Willitz saw only a glass table remaining. On that table were hard drives containing various projects stored for future release. Willitz then put on what he and Ward had spent three years mixing to hear what, if anything, remained.

“He was able to pull all the files off,” said Ward, about this day in 2015. “We thought it was a miracle.” This untitled, 16-minute performance, recorded in 2012 at Rattlesnake, featured Fitted Shards, Ward’s quartet -- keyboardist Rob Clearfield, bass guitarist Jeff Greene, and drummer Makaya McCraven – with a string quartet that included cellist Jocelyn Butler Shoulders and bassist Christian Dillingham. On April 1, 2020, Ward presented this composition to the world via SoundCloud.

So… what title did he select for this concerto for jazz quartet and string orchestra? “Scorch.”

Ward first accepted a composer’s commission for this selection from the Brazos Valley Symphony Orchestra in April 2010. (He had been recommended by Clearfield, whose grandparents supported the Texas-based orchestra.) Six months later, Ward submitted this composition, which Brazos and Fitted Shards debuted in March 2011.

“The orchestra and conductor were very cool,” Ward recalled. “Most of the performers were excited about playing with a jazz quartet and playing music I had written. And it was very well received.

“With the composition, I tried to unfold a story of themes, counterthemes, and colors from start to finish. You hear a dialogue in development,” Ward continued. “I love classical music, and finding a way to fit the music Fitted Shards was making with Brazos’ sound was exciting.”

Creating original music for orchestra, Ward added, fulfilled a long-held desire. Before accepting the Brazos commission, he had composed “Adrenaline” for big band, string orchestra, and a deejay. His appreciation of composition had been developed through studies with Cliff Colnot, director of Orchestral Activities at DePaul University, and Sebastian Huydts, director of Keyboard Studies at Columbia College. Colnot’s advice, Ward explained, instilled confidence to attempt whatever his intuition suggested.

“You work on something, and you don’t know what’s it’s going to sound like, and then it starts to unfold. You get to the end, and you realize you created something you feel good about,” Ward said. “You then take it to the people. Some of it is like you imagined; some of it is better than you imagined…and some of it didn’t work. But it’s all exciting and makes you better.”

From Huydts, Ward learned a technique called object-oriented composition. This concept, he explained, involves studying an idea and then working it in reverse.

GREG WARD: CURIOSITY CREATES POSSIBILITIES NEW CONCERTO COMBINES JAZZ, CLASSICAL, COLORS

BY COREY HALL

Greg Ward

continued on page 3

MAY 2020 3J A Z Z I N C H I C A G O

“This helped me discover the basic building blocks of my ideas,” Ward said. “It allowed me to develop a clear line to the original idea and onward through the entire piece.” Ward’s openness to new ideas, Huydts recalled, made studying with him enjoyable.

“I consider him an equal. No! I consider him a master!” Huydts said, laughing. “Greg is such an extraordinary musician. He has such an innate understanding of music.”

From 2005-9, Ward attended numerous performances at the Chicago Symphony Orchestra (CSO), where he met Colnot and Huydts. He also performed with the CSO’s International Contemporary Ensemble. This exposure inspired him to create what he heard from classical music into his voice.

Even before this time, his exposure to a 2001 performance of Porgy and Bess at the opera planted ideas for future creativity.

“I had known these classic Gershwin tunes forever, but now I was hearing them in a different context,” Ward recalled. “I had heard jazz musicians play them before, but I had never heard the source material. Hearing them with an orchestra, being sung in an operatic style, opened my mind up to possibilities.”

Beyond “Adrenaline” and “Scorch,” Ward has composed Wings, a ballet, and Touch My Beloved’s Thought, a production staged at the 2009 Chicago Jazz Festival, which included 10 musicians and 15 dancers.

“In my career, I see a continuous thread of curiosity, and that’s what I hope people see as well,” said Ward, who now leads a quintet called Rogue Parade. “I want to keep exploring, to get people excited about collaboration, and bring different artists and artistic mediums together.” n

WATCH FROM YOUR COUCH!Join us for a virtual JazzChat featuring Chicago vocalists Dee Alexander and Alyssa Allgood!

Thursday, May 76pm-7:30pmFREE

Join us on Zoom or Facebook Live(Click on either of the links above to watch)

Dee Alexander and Alyssa Allgood discuss the role of jazz and the impact of these times on the music community and the musicians who make it happen. Moderated by Jazz Institute Executive Director Heather Ireland Robinson, the 90-minute chat includes snippets of music selected by Dee and Alyssa - music that has helped them heal, that has brought them joy and that brings us together in these extraordinary times.

MAY 2020 4J A Z Z I N C H I C A G O

FROM THE ARCHIVES: THE JAZZ INSTITUTE OF CHICAGO ON-LINE

Given that many of our beloved clubs and venues have been unfortunately shuttered during this time, we are replacing our monthly listing with some treats from our archives. We are looking forward to getting back to live music and supporting our musicians and club-owner partners as soon as safely possible. Including 210 Restaurant & Live Music Lounge, Andy’s Jazz Club, Benny’s Chop House, Buddy Guy’s Legends Chicago, Cafe Mustache, California Clipper, City Winery, Constellation, Elastic ARTS, Experimental Sound Studio, Fitzgerald’s, Fitz’s Spare Keys, Fulton Street Collective/ Jazz Record Art Collective, Good Life Café, Green Mill, Hideout, Honky Tonk Bbq, Hungry Brain, Hyde Park Jazz Society, Illiana Club of Traditional Jazz, Jazz Community Big Band, Jazzy Mondays at the Center, a JCI/ICD Production, Jazz Showcase, Jimmy’s Woodlawn Tap, The Lighthouse, M Lounge, Multi Kulti, Music Institute of Chicago, Myopic Books, Norman’s Bistro, Pete Miller’s, Le Piano, Piano Forte, Phyllis’ Musical Inn, Pops for Champagne, The Promontory, The Rhythm Room, Sabor a Café, Serbian Village, Skylark, Slate Arts, Some Like It Black Creative Arts Bar, Skylark, Water hole, Whistler, Winter’s Jazz Club and Yassa African Restaurant.

Enjoy some video treasures from our Facebook page mostly recorded by our Social Media Manager, Mashaune Hardy. Type or click on the links below to watch the videos

2016https://www.facebook.com/jazzinchicago/videos/10154289343709173/ Paul Marinaro performing "No Moon at All" at Columbus Park as part of JazzCityhttps://www.facebook.com/jazzinchicago/videos/10154315466599173/ Noteworthy Jazz Ensemble is swinging at the Jazz Showcasehttps://cantv.org/watch-now/10th-chicago-latin-jazz-festival/ Chicago Latin Jazz Festival 2016https://www.facebook.com/jazzinchicago/videos/10154405114399173/ Stefon Harris closes out the last day of Straight Ahead Jazz Camp at a jam sessionhttps://www.facebook.com/jazzinchicago/videos/10154685077844173/ “Body and Soul” performed by Miguel de la Cerna on piano, Victor Goines on tenor, Marlene Rosenberg on bass, and Ernie Adams on the drums at JazzCityhttps://www.facebook.com/jazzinchicago/videos/10154776412819173/ JazzCity tribute to Ornette Coleman by Mars Williams, Fred Jackson, Ben LaMar, Joshua Abrams, Jim Baker and Avreeayl Ra.https://www.facebook.com/jazzinchicago/videos/10154844869019173/ JazzCity: "Bird to Word: the vocalese of OBJ-celebrating Oscar Brown Jr's 90th" with Maggie and Africa Brown.

2017https://www.facebook.com/jazzinchicago/videos/10155137143769173/ JazzCity – Women of Chicago Jazz featuring the Chicago-Detroit Collective https://www.facebook.com/jazzinchicago/videos/10155220079569173/ Jazz Links alum Cole DeGenova quartet at Navy Pier’s Tiny Tavernhttps://www.facebook.com/jazzinchicago/videos/10155282732169173/ Jazz Education Day at the Chicago Cultural Centerhttps://www.facebook.com/jazzinchicago/videos/10155298400684173/ International Jazz Day concert featuring Gustavo Cortiñas Snapshot https://www.facebook.com/jazzinchicago/videos/10155316656529173/ Jazz Links Jazz Ambassadors finale concert https://www.facebook.com/jazzinchicago/videos/10155427655599173/ Nicole Mitchell’s Black Earth Ensemble at JazzCity https://cantv.org/watch-now/11th-annual-chicago-latin-jazz-festival/ Chicago Latin Jazz Festival 2017https://www.facebook.com/jazzinchicago/videos/10155673385369173/ Greg Artry Trio at Navy Pier’s Water Colors series. https://www.facebook.com/jazzinchicago/videos/10155800157134173/ JazzCity tribute to Thelonious Monk led by Miguel de la Cerna

2018https://www.facebook.com/jazzinchicago/videos/10156219583794173/ JazzCity- Women of Chicago Jazz https://www.facebook.com/jazzinchicago/videos/10156291646579173/ Jazz Education Day at the Jazz Showcasehttps://www.facebook.com/jazzinchicago/videos/10156349977429173/ International Jazz Day featuring James Sanders’ Conjuntohttps://www.facebook.com/jazzinchicago/videos/10156381549184173/ Hawk/Prez/Bird JazzCity tribute to Von Freeman featuring Mike Allemana, Scott Burns, Rajiv Halim, Dennis Carroll and Dana Hallhttps://www.facebook.com/jazzinchicago/videos/10156447272064173/ JazzCity tribute to Von Freeman: the Sun Ra Effect at Columbus Parkhttps://www.facebook.com/jazzinchicago/videos/10156456345254173/ Sundown Sessions at Gallagher Way featuring the Constantine Alexander ensemblehttps://www.facebook.com/jazzinchicago/videos/10156395063899173/ Chicago Stage at the Logan: Possibilitieshttps://www.facebook.com/jazzinchicago/videos/10156515724809173/ Lowdown Brass Band 2nd Line as part of Water Colors in Navy Pierhttps://cantv.org/watch-now/12th-annual-chicago-latin-jazz-festival/ Chicago Latin Jazz Festival 2018https://www.facebook.com/jazzinchicago/videos/10156600230129173/ Grazyna Auguscik and Dee Alexander at Water Colors in Navy Pierhttps://www.facebook.com/jazzinchicago/videos/300782660502738/ Sundown Sessions at Gallagher Way featuring the Rajiv Halim ensemblehttps://www.facebook.com/jazzinchicago/videos/2153041945023175/ Chicago Jazz Festival – Rooftop stage featuring Morgan Pirtlehttps://youtu.be/v0cIaE0S7NE Make it Funky-Maceo Parker Chicago Jazz Festival 2018 (LD)https://www.facebook.com/jazzinchicago/videos/249100212470596/ JazzCity tribute to Von Freeman featuring Chico and George Freemanhttps://www.facebook.com/jazzinchicago/videos/2681934508697315/ JazzCity tribute to Von Freeman: Vonology led by Mike Allemana

MAY 2020 5J A Z Z I N C H I C A G O

JYMIE MERRITT, A TRUE BASS FORERUNNERBY JUNIUS PAUL

THERE ARE ARTISTS THAT YOU LIKE TO LISTEN TO, THERE are artists that you love to listen to, and then there are artists that go a level deeper, to the point that they touch your inner core as not many have. All three of those categories apply to how I feel about Jymie Merritt as a bassist, arranger and composer. When Merritt passed away on April 10, 2020, my heart hurt deeply because one of the artists that have affected me in this way is no longer on this side of the bridge of life. Consequently, I was inspired to compose this piece about Jymie’s musical legacy. Within this composition are personal reflections of Jymie directly from his son, Mike, and Jymie’s close friend, Reggie Workman.

I got heavy into Jymie Merritt “late”, per se. When I began studying double bass in college, it was mainly the sounds of bassists Paul Chambers, Ron Carter, Malachi Favors, Charles Mingus, Jimmy Garrison and Christian McBride who captured my attention as examples to emulate. I remember being initially introduced to Merritt through Max Roach’s “Members, Don’t Git Weary” at age 18 via my stepfather and digging that album hard, but I didn’t dive into Merritt’s melodic sensibilities, compositional prowess, rhythmic manipulation and overall artistry on my own until my early 30’s. Little did I know that Jymie Merritt would eventually become one of my favorite musicians of any instrument or genre.

Merritt had an earthy, rounded bass tone mixed with repeated use of motifs. He had a unique way of playing not only the root notes, but playing inside the harmonic structures of the ensembles that he played with, pushing the music forward and inspiring new avenues of exploration for everybody involved. “Jymie was all about moving

forward; as a person, as a musician, as a bass player”, said Mike Merritt, a well-established professional bassist in his own right. Born in Philadelphia in 1926, Jymie Merritt was raised in the arts; his mother was a piano & voice instructor/choir director, and his father, a business owner, was also an author. Merritt became a prominent member of the Philadelphia jazz scene after a stint with the U.S. Army from 1944-46 during World War II. He jammed often at his house with the likes of would-be jazz legends Philly Jo Jones, John Coltrane, Golson and Heath brothers Jimmy, Percy & Tootie to name a few. Merritt would also eventually become friends with Philadelphia-rooted bassists Reggie Workman, Henry Grimes and Jimmy Garrison.

Merritt proved to be a widely versatile bassist. In the early 1950’s he scored his first touring stint with jazz and rhythm & blues band Bull Moose Jackson & His Buffalo Bearcats (of which Golson and Philadelphia trumpeter Johnny Coles were also members). It was around this time that Merritt began introducing the electric bass to jazz, meriting him the honor of being the first jazz electric bassist in the history of the art form. According to Reggie Workman, Merritt performed gigs on the Philadelphia jazz scene playing a Fender electric bass prior to his touring days. In addition, Meritt’s signature “Ampeg bass”, a five-string custom-made double bass, would become a part of his signature sound for many years to come. Not long after his tenure with Bull Moose Jackson was over, blues pioneer B.B. King would also become a part of Merritt’s touring résumé. After touring with King, Merritt moved to New York to acquire the bass chair for Art Blakey’s Jazz Messengers in 1957, who at the time boasted fellow Philadelphians Bobby Timmons, saxophonist Golson and trumpeter Lee Morgan as members. Merritt recorded five albums with Blakey; the first album, “Moanin”, includes the title track that would end up being Blakey’s biggest hit. Eventually Wayne Shorter, pianist Cedar Walton and trumpeter Freddie Hubbard would replace Golson, Timmons and Morgan during Merritt’s tenure with The Jazz Messengers, which ended in 1962. After moving back to Philadelphia, he formed his own band, The Forerunners, where Merritt was able to fully showcase his compositional skills and unique musical concepts. Said Mike Merritt of his father’s music, “He created his own musical language and system using polytonality and cross rhythms as the basis for composing and performing. His music and ideas are about freedom, and how musicians can acknowledge those who came before them, the ‘Forerunners’, so to speak, by creating unique ways of expressing originality”.

continued on page 6

MAY 2020 6J A Z Z I N C H I C A G O

A monthly newsletter published by the Jazz Institute of Chicago for its members. The Jazzgram represents the views of the authors, and unless so designated, does not reflect official policy of the Jazz Institute. We welcome news and articles with differing opinions.

Managing Editor: Adriana PrietoDesign: Letterform | Production: Adriana PrietoCorrespondents: Rahsaan Clark Morris, Corey Hall, Howard MandelBoard of Directors:President: David HelversonVice Presidents: Timuel Black, Warren Chapman, Roxana Espoz, Brian Myerholtz, William Norris, Keyonn PopeSecretary: Howard MandelTreasurer: Darryl WilsonEmeritus Director: Joseph B. GlossbergExecutive Director: Heather Ireland RobinsonBoard Members: David Bloomberg, Miguel de la Cerna, Dan Epstein, Matthew Goldfine, Rajiv Halim, Jarrard Harris, Bill King, Jason Koransky, Terry Martin, Ted Oppenheimer, Bethany Pickens, Mike Reed, Kent Richmond, Judith E. Stein, Conrad Terry, Neil Tesser

Founded in 1969, the Jazz Institute of Chicago, a not-for-profit corporation, promotes and nurtures jazz in Chicago by providing jazz education, developing and supporting musicians, building Chicago audiences and fostering a thriving jazz scene.

410 S. Michigan Ave., Suite 500, Chicago IL 60605 | 312-427-1676 • Fax: 312-427-1684 • JazzInChicago.org

The Jazz Institute of Chicago is supported in part by The Alphawood Foundation | The Francis Beidler Foundation | The Chicago Community Trust | A CityArts grant from the City of Chicago Department of Cultural Affairs and Special

Events | Crown Family Philanthropies | The Philip Darling Foundation | The Gaylord and Dorothy Donnelley Foundation | The Illinois Arts Council Agency | Lloyd A. Fry Foundation | The MacArthur Fund for Arts and Culture at Prince |

The National Endowment for the Arts | The Oppenheimer Family Foundation | The Polk Bros. Foundation | The Benjamin Rosenthal Foundation | Wells Fargo Foundation

J A Z Z G R A M

Jymie joined Max Roach’s ensemble in 1965 as a bassist and composer, touring and recording on the albums “Members, Don’t Git Weary” (featuring Merritt’s “Absolutions”) and “Drums Unlimited” (featuring Merritt’s “Nommo”).

Through his career, Jymie seemed to remain a modest, reserved individual in the midst of his many accomplishments and extensive résumé. Workman reflected of Merritt in a recent phone interview, “He was very quiet, he always kept to himself. He always moved around and got to all the places, but he was unique to himself. He used to make Max Roach nervous as hell. He’d be looking for Jymie Merritt, trying to start the band, and before he knew it, Jymie Merritt was standing behind him with the bass in his hand. That was the kind of guy he was”. Merritt toured with Dizzy Gillespie after his stint with Roach ended in 1968, eventually reuniting with Lee Morgan as a member of Morgan’s band until his untimely death in 1972. Merritt recorded with Morgan on iconic albums “Live At The Lighthouse” and the posthumous “The Last Session”. Tunes such as “Angela” and Morgan’s revival of “Absolutions” are compositional contributions from Merritt to Morgan’s band. Jymie shared with Mike Merritt regarding the “Live At The Lighthouse” recording, “We never discussed the music in depth; just a few rehearsals and then make the hit. It was pointing to a new direction in Lee’s career, that everyone’s playing was on the highest level”. Post-Lee Morgan, Jymie toured and recorded with a number of jazz greats through the 1970’s and 80’s. While remaining a touring bassist, Merritt’s Forerunners band remained in existence in Philadelphia and still does today through mostly original members such as saxophonist Odean Pope and son Mike, who follows in his father’s footsteps as the band’s bassist.

Jymie Merritt will live on through his recordings, compositions and the many people he has positively influenced. My hope is that generations of now and to come will continue to speak life into the name of Jymie Merritt, one of the all-time quintessential figures of music. n

IN MEMORIAMREMEMBERING THE JAZZ MUSICIANS WHO WE'VE LOST RECENTLY

The Jazz Institute of Chicago regrets the passing of the jazz musicians who have lost their battle to COVID-19 or other complications in the past weeks. Today we celebrate their legacies and significant contributions to the music that brings us so much joy and motivation as we walk through these difficult times together.

Tony Allen (1940-2020)Eddy Davis (1940-2020)Manu Dibango (1933-2020)Henry Grimes (1930-2020)Onaje Allan Gumbs (1949-2020)Lee Konitz (1927-2020)Giuseppi Logan (1935-2020)

Mike Longo (1937-2020)Ellis Marsalis (1934-2020)Jymie Merritt (1926-2020)Marcelo Peralta (1961-2020)Bucky Pizzarelli (1926-2020)Wallace Roney (1960-2020)Bill Withers (1938-2020)

MAY 2020 7

EDUCATION CORNERJAZZ LINKS FELLOWSHIP PROGRAMThe Jazz Institute of Chicago is excited to announce our new Jazz Links Fellowship Program (JLF)! The program, which will be awarded to 2 of the city’s up-and-coming musicians, offers opportunities to learn on-the-job with JIC mentors’ guidance, and performance opportunities across the city in communities underserved by the arts. A new approach in response to COVID-19 restrictions will include a series on on-line interfaces with mentors and concert series. With first applications due May 22nd, JLF will select two “newly emerging artists” (ages 22 – 35) that will receive advanced instruction, career development workshops, mentorship and teaching /arts education leading opportunities. The fellowship also includes performance and

“learning by doing” real-world experience on the bandstand (in the fall or early 2021) in Chicago music venues, and community engagement – playing for the people in Chicago’s gardens, parks, schools and iconic neighborhood mural sites.

For more information about the program and to access the online application, visit the Jazz Links Fellowship Program page at jazzinchicago.org

STRAIGHT AHEAD JAZZ EXCHANGE UPDATEIn these uncertain times, music and the arts are more important than ever, and the Jazz Institute of Chicago remains dedicated to its mission of promoting and nurturing jazz music in all of its forms. However, we are also committed to the health and safety of our members, participants, and presenters. To this end, it is with heavy heart that we must cancel - in its current form - this year’s Straight Ahead Jazz Exchange. Although we will not be able to hold this year’s Straight Ahead Jazz Exchange in person, we are working to offer an online version of the camp. In the online camp, participants will have access to interactive and recorded seminars and masterclasses that focus on improvisation, history, listening, and instrument specific topics, as well as the opportunity to register for one-on-one lessons with the guest artists.

For more information about the camp, please follow us on social media, check your email for our e-blasts, and visit the Straight Ahead Jazz Exchange page at jazzinchicago.org.

JIC EVENTS CANCELED DUE TO COVID-19 PANDEMIC:

– MAY 8: JAZZCITY AT TULEY PARK– MAY 13: JAZZ LINKS JAM SESSION– MAY 15: CHICAGO STAGE AT THE LOGAN FEAT. ISAIAH COLLIER (POSTPONED)– JAZZ LINKS STUDENT COUNCIL ACTIVITIES

For more updates on event cancellations and online activities including performances and educational videos, please visit jazzinchicago.org and follow us on Facebook, Twitter and Instagram.

410 S. MICHIGAN AVE.SUITE 500CHICAGO, IL 60605WWW.JAZZINCHICAGO.ORG

DATED MATERIAL