Lazaro Vega

http://news.com.com/2001-1_3-0.html?tag=prntfr> e7cb6b9.jpg http://www.news.com/2001-1_3-0.html?tag=pr...//www.news.com/ New Net radio rules draw fire on Capitol Hill By Anne Broache http://news.com.com/New+Net+radio+rules+dr..._3-6165336.html Story last modified Thu Mar 08 06:01:00 PST 2007 WASHINGTON--A key Democrat in the U.S. House of Representatives on Wednesday slammed new federal rules that would require many Internet radio services to pay higher fees to record companies. Rep. Edward Markey (D-Mass.) had harsh words for http://news.com.com//2061-10799_3-6164865.html a ruling released Tuesday by the U.S. Copyright Royalty Board. It proposes raising the amount that commercial Internet radio services pay to record companies by 30 percent retroactively to 2006 and in each of the next three years through 2009. Each station would have to hand over a minimum $500 royalty payment. The pricing inquiries arose in part because Mel Karmazin, CEO of Sirius Satellite Radio, whose proposed merger with XM Satellite Radio is being scrutinized by House members, seemed to indicate at a House hearing last week that prices would never increase, even on the combined service. "This represents a body blow to many nascent Internet radio broadcasters and further exacerbates the marketplace imbalance between what different industries pay," Markey said at http://energycommerce.house.gov/cmte_mtgs/...ure_radio.shtml a hearing here titled "The Future of Radio". The hearing was convened by the House panel on telecommunications and the Internet, of which Markey is chairman. "It makes little sense to me for the smallest players to pay proportionately the largest royalty fee." Before http://www.loc.gov/crb/proceedings/2005-1/...terms2005-1.pdf the CRB's new rules (PDF), which are subject to appeal, most Webcasters calculated their requisite royalty rates based on a percentage of their revenue. According to calculations by the Radio and Internet Newsletter, an advocate for Net radio services, the new retroactive 2006 rate would require Webcasters to pay approximately 1.28 cents per listener per hour--enough to cripple some smaller services, the group argued. "One can easily imagine Web radio looking more and more homogenized," --Robert Kimball, general counsel, RealNetworks The CRB's decision has imperiled Webcasters by widening the gap between what Internet radio and satellite radio services must pay, RealNetworks general counsel Robert Kimball told politicians. He was also speaking for the Digital Media Association, whose members include Amazon.com, Apple, Microsoft and MP3.com, a property of CNET Networks, publisher of News.com. If the decision is not overturned, "one can easily imagine Web radio looking more and more homogenized," Kimball said. That's because the higher rates may force Internet radio operators to reduce the number of songs they carry or increase their advertising prices and frequency, which could make it a less desirable place for advertisers to invest, he said. Kimball suggested the http://news.com.com//2061-10802_3-6160483.html proposed merger between XM and Sirius should be put on hold until Congress "corrects the Copyright Act's bias against the Internet," thereby allowing Internet radio companies to compete more fully with satellite firms. For instance, the Copyright Act prohibits Internet radio from offering its own recording devices and portable radio devices, but it does not levy the same restrictions on other radio services, Kimball said. (A recording industry-backed effort is under way in Congress, however, to http://news.com.com//Senators+aim+to+restr..._3-6149915.html impose new restrictions on satellite radio devices.) Copyright law also places a number of programming restrictions exclusively on Webcasters, Kimball said, including forbidding them from announcing upcoming songs and playing more than two songs consecutively or four songs over a three-hour period by the same artist. Rep. Anna Eshoo (D-Calif.) said she believes Internet radio could face threats from another source: "broadband providers who have the ability and incentive to limit consumers' access to the content of their choice." She called for passage of http://news.com.com//Net+neutrality+showdo..._3-6055133.html Net neutrality legislation, which failed to pass Congress last year, that would prohibit such a practice. Questions about XM-Sirius Although Internet radio played some role in the hearing, many politicians continued to focus their questions about the proposed $13 billion merger between satellite radio players XM and Sirius. Just a week after a House panel that oversees antitrust issues http://news.com.com//House+panel+grills+Si..._3-6163223.html grilled him, Sirius CEO Karmazin agreed to field similar questions from Markey's committee. Several politicians on the committee, including Markey, said they planned to scrutinize the proposed deal for potential conflicts with the public interest. Some voiced outright reservations about approval of the deal. "It's hard to see how prices of satellite radio will go down" as a result of the merger, said Rep. Gene Green (D-Texas). The broadcast industry opposes the deal on the grounds that combining the two companies would amount to a government-sanctioned monopoly. Consumer groups also have voiced fears that the merged entity would result in higher prices for satellite subscribers. Karmazin again argued the combined companies would give more programming choices to listeners and would not result in raised prices--at least on the individual services. He reiterated that the same receiver would be able to get content from both services, eliminating the need for customers to purchase another device if the deal goes through. "You will not pay more than $12.95 for that service after the merger," he told the committee. He added that the combined company plans to offer the option of purchasing smaller batches of channels for a lower price. Pressed by Markey on the combined company's pricing plans, Karmazin acknowledged that customers who want to receive content from both XM's and Sirius's previous offerings may have to pay more than $12.95. He declined to give an exact figure but estimated that price would be "closer to $10" less than the $25.90 it would currently cost to subscribe to both services. It will ultimately be up to the Federal Communications Commission and the U.S. Department of Justice to decide whether the merger favors consumers or would hinder competition. FCC Chairman Kevin Martin made it clear as recently as an interview published Wednesday in The New York Times that the companies have high hurdles to jump. The Senate Judiciary Committee also has http://judiciary.senate.gov/hearing.cfm?id=2601 scheduled its own hearing on the matter for March 20. CNET News.com's Desiree Everts contributed to this report.

Royalty-Rate Hike Alarms Web Broadcasters Small Radio StationsFear Increase Will Force Them To Abandon the Internet By SARAH MCBRIDE March 7, 2007; Page B1 Internet radio broadcasters face the alarming prospect of paying much higher royalties to song performers, a burden that could silence some online stations. The Copyright Royalty Board, an obscure federal agency charged by Congress in late 2004 with setting sound-recording royalty rates for online radio stations, has carried out its mandate -- with the result that some broadcasters could be on the hook for millions of dollars more than they had planned. The rates set by the board, effective retroactively to 2006, start at .08 cents per song, per listener. While that might not sound like much, it rises every year and adds up fast. And that's in addition to the sizeable royalties Internet radio companies pay to the songwriters and composers of the underlying works. "With these rates, there's no Pandora," asserts Tim Westergren, co-founder of Pandora.com, an online radio service with about six million registered users. The schedule is likely to take up a big part of the agenda at a congressional hearing on the future of radio scheduled for today. RealNetworks Inc., a Web company, is among those testifying. While the hearings aren't expected to affect the new rates, the industry can appeal the decision at the District of Columbia Circuit Court of Appeals. But it's the small broadcasters that are hit especially hard. Until now, Congress has kept the stations' royalty costs artificially low to encourage a nascent industry. Previously, those smaller groups could pay 12% of revenue to a music group called SoundExchange, which collects royalties for digital spins of a song and doles them out to song performers and record labels. Because the smaller stations paid a percentage of revenue, they never faced a situation where their royalty bills exceeded their operating revenue, as many will now. At the same time, music labels facing faltering revenue have been eager to make sure that everyone pays for their music. The board's new rates appear to be close to those sought by SoundExchange, an offshoot of the Recording Industry Association of America that now operates independently. But the Internet radio broadcasters say the rates hit one of the few bright spots in the moribund music business and thus end up shooting the labels in the foot. "People buy a lot more music because of what they hear online," says Mr. Westergren of Pandora. "Internet radio is one of the best things happening to the record industry," agrees Kurt Hanson, owner of the online radio company, Accuradio. The entrepreneur calculated that under the old rules Accuradio's sound-recording royalty payments last year would be about $50,000. But under the new schedule, Mr. Hanson figures that his bill now amounts to about $600,000 -- more than all of last year's revenue from his radio Web site. The rates also hit public radio stations like those affiliated with National Public Radio, which has been charging hard into online music. The public-radio stations were previously allowed to pay a flat fee under a separate negotiation with the music industry association. Now the stations will be subject to the new rates, after a small number of exempted hours of streamed music. "NPR is consulting with the public-radio community to determine what steps must be taken to reverse this decision and its dire consequences on public service media," says spokeswoman Andi Sporkin. Internet radio counts over 50 million listeners in the U.S., many of them tuned in to tiny, niche-oriented online broadcasters. That's well in excess of the 14 million or so subscribers satellite radio can claim. Satellite radio pays sound-recording royalties under a different schedule that was separately negotiated with the music industry; it too is up for renegotiation. The schedule highlights an inequality that has rankled many online entrepreneurs for years. Regular radio stations don't pay royalties to performers for their over-the-airwaves broadcasts, although they do pay royalties to composers and songwriters. "It's flat out unfair," says Jonathan Potter, executive director of the Washington-based Digital Media Association, which represents online music companies such as AOL. His organization is weighing its options, which include appealing the new schedule within 15 days. Judge James Sledge, who oversaw the proceedings at the Copyright Royalty Board, says the schedule "is our best determination" given the boundaries established by Congress. Write to Sarah McBride at sarah.mcbride@wsj.com1

Hi all - More details on the new royalty rate: The Copyright Royalty Board has announced new rates and terms that apply to digital streaming of sound recordings over the internet. The new rates represent a steep increase over the rates that broadcasters previously paid to stream their stations' broadcasts. A good summary and analysis of the ruling is here: http://www.kurthanson.com/archive/news/030207/index.shtml Highlights: The new rates for commercial webcasters are: $.0008 per performance for 2006 $.0011 per performance for 2007 $.0014 per performance for 2008 $.0018 per performance for 2009 $.0019 per performance for 2010 The transmission of a song to each listener is considered a performance. Thus, transmitting one song to 500 people would be considered 500 performances. It has been estimated that in the case of a commercial webcaster with an average of 500 listeners at any moment, broadcasting 16 songs an hour, 24 hours a day, this would result in a payment of about $211 a day for 2007, annualized to $77,015 a year. These rates are retroactive through the beginning of 2006. Noncommercial webcasters playing LESS than 159,140 aggregate tuning hours per month (less than approximately 221 listeners in any given hour) are only required to make the minimum $500 payment. Note: these new rates apply only to the sound recording component of the broadcast - that is to say, to the performer or record label. Royalties for the underlying musical compositions are collected by ASCAP, BMI and SESAC. The current ASCAP and BMI licenses permit broadcast radio simulcasts from a station's website. SESAC requires a separate license. There's some movement among webcasters and web radio fans protesting the agreement, more information at: savethestreams.org and saveourinternetradio.com. I'm looking into other avenues besides petitioning congress and will forward what I hear. All the best, Jean Cook Future of Music Coalition www.futureofmusic.org

(begin forewarded message) HAD SOME TIME ON MY HANDS SO I LOOKED THIS UP SO YOU SHITKICKERS WOULD KNOW HOW YOU CAME TO BE. WHO IS JACK SCHITT??? For some time many of us have wondered just who is Jack Schitt? We find ourselves at a loss when someone says, 'You don't know Jack Schitt!' Well, thanks to my genealogy efforts, you can now respond in an intellectual way. Jack Schitt is the only son of Awe Schitt. Awe Schitt, the fertilizer magnate, married O. Schitt, the owner of Needeep N. Schitt, Inc. They had one son, Jack. In turn, Jack Schitt married Noe Schitt. The deeply religious couple produced six children: Holie Schitt, Giva Schitt, Fulla Schitt, Bull Schitt, and the twins Deep Schitt and Dip Schitt. Against her parents' objections, Deep Schitt married Dumb Schitt, a high school dropout. After being married 15 years, Jack and Noe Schitt divorced. Noe Schitt later married Ted Sherlock, and because her kids were living with them, she wanted to keep her previous name. She was then known as Noe Schitt Sherlock. Meanwhile, Dip Schitt married Lotta Schitt, and they produced a son with a rather nervous disposition named Chicken Schitt. Two of the other six children, Fulla Schitt and Giva Schitt, were inseparable throughout childhood and subsequently married the Happens brothers in a dual ceremony. The wedding announcement in the newspaper announced the Schitt-Happens nuptials. The Schitt-Happens children were Dawg, Byrd, and Horse. Bull Schitt, the prodigal son, left home to tour the world. He recently returned from Italy with his new Italian bride, Pisa Schitt. Now when someone says, 'You don't know Jack Schitt,' you can correct them. Sincerely, Crock O. Schitt

That's no more practical than that "real jazz" musicians should have a path for "free" musicians to sit in. It can happen, sure, but it doesn't make sense to say it's a kind of obligation. I think Crouch means to say that jazz "needs" a community in the specific sense of a widely shared repertoire and shared musical goals and practices, and to the extent that some music becomes more dependent on idiosyncratic systems or processes, ignoring traditional methods, and thereby excluding musicians who haven't made a specific study of the more idiosyncratic music, it is outside the "community" and no longer jazz. He wants "jazz" to be a genre in which everyone can be judged by the same criteria. Having a single community with a single set of standards is a nice and cozy idea; everyone likes to be part of a group and share in what the group is all about. To an extent (but only to an extent) jazz had that up to the late 50's or so. But it's long gone. On the other hand, there remains a very large and vibrant community within the larger jazz world that meets Crouch's criteria. It's not like swing and changes aren't still the focus of a majority of jazz players in the world. The more insecure members of that community, such as Crouch and that other guy, the trumpet player, resist any expansion of the definition of "jazz" as if it were a criticism of their own preferred style; but of course that isn't the case. Most aficionados of "free" or non-traditional jazz that I know are in love with the whole tradition, and the musicians involved, whether or not they could play convincing bebop themselves, are usually knowledgeable and appreciative of what Crouch calls "real jazz." Likewise, many straight-ahead players love a lot of "free jazz," whether or not they play it. Crouch would have it that jazz is made up of two rival camps, viewing one another with anger and suspicion, and in fact his writing tends to encourage such tendencies when they are latent. But Iverson is right: "it is high time to put this issue--which has fragmented the jazz world terribly--onto the table and look at it in a serious way." Then again, has it ever been a harmonious community with agreed upon standards? From the Creole vs Uptown (that is trained vs ear musicians) of old New Orleans there's been a difference of opinion about approach. Though the uptown musicians would concur that their Creole brethren were better educated, more consistently good musicians, it was, in a political sense, a forced synergy. Then the emerging swing guys looked at Jelly Roll as corny because of his ties to ragtime. It about skipped a generation before Jelly was seen for the skill, creativity and depth of his musical contribution, and only now being regarded as one of the great "Johnny Appleseed" type figures of the music a decade before jazz was even recorded. That is he left New Orleans and turned on many, many musicians across the country to what jazz was. So, in context, I'm not sure there ever was an agreed upon set of standards that remained in place very long, long enough to speak to the entire music. There are ideas that run through the tradition which are consistent, and would include jazz after 1959, but in terms of "measurable" musical standards those seemed to be in a constant state of change, which is what makes jazz so dynamic (purposefully written in the present tense as naiveté rules the day as long as Cecil, Ornette, Muhal, Braxton, Roscoe, Threadgill, many others, are alive and making music).

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As just a side note -- I wrote a long article for the Grand Rapids Press about The New History of Jazz when it first came out and produced a two hour radio special from the same interview with Alyn Shipton. In the lead to this article there was a mention of "not much notice" in America. That may be true, but there was probably more than he knows. Here is the interview: http://www.organissimo.org/forum/index.php?showtopic=9830

Well there's some good news out of Chicago's jazz scene. Congratulations.

Some more LeRoy Jenkins in there, Ohio. Hope you dig it.

Around 1983 Rosengarden played at Blue Lake Fine Arts Camp with the Blue Lake Monster, our faculty big band. Warm and easy going guy who could really swing. RIP.

Yikes, it is one o'clock and I'm just getting back to you. Mike Hennessey wrote, "'The Seagulls of Kristiansund' was written by Mal when he was spending a vacation close to the beach in that Norwegian location ni 1977. "I used to watch the seagulls perform a ballet every morning," he says. Hennessey mentions the piece is built around two tone centers, E minor and A minor. He writes, "It is a slow, poignant, rather melancholy composition whose mood is beautifully sustained throughout in successive solos by Rouse, Shaw and Workman."

Coming up right after Ornette.....

Yes, that's the album. We don't have "One Upmanship," but I do have "The Seagulls of Kristiansund" Live at the Village Vanguard. Coming up.

First thing I played on the air here 24 years ago was a Henry Threadgill piece called "Fanfare and Celebration" which was renamed and issued as "When Was That?" on About Time records. Please join us until three o'clock in the morning tonight over www.bluelake.org. Drummer Matt Wilson is the featured artist. Requests are welcome.

Tom, You're right about the musical catholicity of musicians. Recently trumpeter Roy Campbell and bassist/violinist Henry Grimes played live on Blue Lake Public Radio. To warm up they played "Jordu," "What's New" and the "Shadow of Your Smile." When they hit the air it was all completely improvised. I recall producing a concert by Kahil El'Zabar's Ritual Trio featuring Lester Bowie and the poetess N'tozake Shange (sp!) with Malachi Favors, bass; Ari Brown, tenor and piano; and Kahil on drums. As the band was packing up, Ari sat down at the piano and played "Betcha By Golly Wow." A genie in disguise, laddies.

Well, it's right under his nose: listen to Joey Calderazzo in Branford's Quartet. Though not a starting point for him, Cecil's vocabulary will come into play during climaxes of the music. Then, too, there's Myra Melford, Marilyn Crispell, to some extent Craig Taborn....Cecil's modus operandi is so personal that it would difficult to play "like" him without being an immitator, and a lesser one, yet pianists have played off him and incorporated aspects of his pianistic approach. Cecil's band approach and compositional method is one of many ways of dealing with the changes in jazz after the discontinuation of playing traditional song form. Maria Schneider once described Messiaen's music to me as like walking into a room that's all one color and then, woosh, the color changes. Basically she's saying it's solids, though. Cecil's music is more like bubbles, violent bubbles, and is underpinned an elemental quality that is like creation myths meeting the blues.

The idea that Cecil's music is not jazz because it is corrupted by classical music ignores his music and what he's said about it, yet more importantly it ignores the tradition of jazz. From statements by the great stride players that they could play Chopin faster than anyone; or the bel canto singing tradition on the sound and phrasing of Fats Navarro; or Teddy Wilson's whole thing, or Tiger Rag being a French dance, classical music has a deep, penetrating influence on jazz. Did classical music de-Negro Nina Simone? Not in a million years. And the sound of Bach on Mingus was fairly playful. Classical music has always been part of the mix. Just because it remained so when the new vocabularies of rhythm, melody and ensemble organization came to the forefront of jazz after Ornette showed the way out of song form doesn't mean that music was not jazz. The fundemental "thing" that Stanley does with his arguement is change the idea that jazz is a way to the notion that it is a thing ("blues plus swing equals jazz" is a commodification, a logo line, not an artistic process). I don't understand why people haven't challenged him on the idea that classical music corrupts jazz until it is unrecognizable with the same tradition he claims to so thoroughly comprehend. The little episode about Roland Kirk sitting in with Cecil echoes Wynton trying to sit in with Miles as both were told 'no' for the same reasons: we have a band here with certain operating principles that you don't know. That, to me, is legit. What of the notion that "free" musicians "should" have a pathway open for jazz musicians to sit in with? I've seen people jam in unplanned contexts at the old Southend Music works in Chicago-- Reggie Workman with Gerry Hemmingway, Paul Smoker, Steve Hunt and Kent Kessler -- who've made incredible music, whole music with a beginning middle and end all unplanned. So it seems the arguement breaks down as you get into the music more. I mean, Reggie Workman is a jazz musician, right? Listening to that WNUR interview with Leroy Jenkins it was clear he feels more comfortable "jamming" with Joseph Jarman than just about anyone else because he trusts Joseph's level of understanding the musical outcome they're both aiming for. How could he, then, just give over to someone who is only comfortable playing changes, and why would we expect him too?

And Jimmy Dorsey...

Just checked out "What's New" by Bird at St. Nick's alongside Coltrane's "Theme For Ernie" from "Soultrane" and I suppose -- it's kind of hard to tell. I mean, if recording quality is the issue the lo-fi of Bird at St. Nick's about disqualifies it...but then again, there's something there in the comparison. For what it is worth Von Freeman once expressed to me there were no good instrumental versions of "What's New." This version by Bird is an exception. Thought this was an exceptional interview.

The WNUR interview is very insightful. Played alto in college, Florida A and M, to help pay bills. At junk joints in a style informed by Charlie Parker. "I never knew...."

Dexter is our featured artist tonight from 10 p.m. to 3 a.m. est on Blue Lake Public Radio, www.bluelake.org

When Hemmingway and Butcher appeared live on Blue Lake Butcher mentioned he was deeply influenced by friends of his who played strings, and getting inner voicings and multiple layers of sound from his saxophone was in part inspired by the sound of stringed instruments. During that broadcast Hemmingway played midi-percussion, too. Though John's contacted us a number of times since to come back and play we, alas, haven't had the bread he's wanted.

Marilyn Crispell with Mark Helias and Paul Motian Tuesday Feb 27 - Sunday March 4, 2007 VILLAGE VANGUARD 178 Seventh Ave. S. NYC (212) 255-4037 ★ MARILYN CRISPELL TRIO (Tuesday through Thursday) Marilyn Crispell, a pianist equally celebrated for aggressive atonality and delicate lyricism, regroups with the bassist Mark Helias and the drummer Paul Motian, the same team as on her exquisite album “Storyteller” (ECM), from a few years ago. (Through March 4.) At 9 and 11 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; cover, $20, with a $10 minimum. (Chinen)

http://destination-out.com/?p=77 http://www.nytimes.com/2007/02/26/arts/mus...amp;oref=slogin

Written by George Lewis and Carlota Schoolman. LEROY JENKINS March 11, 1932 - February 24, 2007 Narrative biography, February 26, 2007 Leroy Jenkins is renowned as a virtuoso violinist and for his compositions and operas which are an extraordinary bonding of a variety of sounds associated with the African American music tradition and European styles. Throughout his long career, Jenkins never stopped experimenting. At Harvestworks Digital Art Center where he was Artist in Residence in 2005, he and Mary Griffin developed an interactive music/video instrument which allows Jenkins, "Blue" Gene Tyranny, and the other musicians in Coincidents to manipulate multiple video tapes with their acoustic instruments and voices. Most recently, he assembled a world music improvisatory group - Jin Hi Kim (Komungo) Korea, Rmesh Misra (Sarangi) India, Yacorba Sissoko (Kora) Africa, Leroy Jenkins (Violin) USA. A recording of the group, made at an AACM concert will be released shortly. In the last fifteen years, Jenkins has turned his attention to music/theater pieces: Fresh Faust, a rap opera was presented in workshop at the Institute of Creative Arts in Boston. The Negro Burial Ground, a cantata, was presented in workshop at the Kitchen Center in New York. A later work, The Three Willies, an operatic collaboration with Homer Jackson was presented at The Painted Bride in Philadelphia (1996), and at the Kitchen, NYC (2001). Coincidents an opera, with librettist Mary Griffin will receive its premiere in June at Roulette. Jenkins is developing two new operas: Bronzeville, a history of South Side Chicago in the 20s through 50s with Mary Griffin, and Minor Triad, a musical drama with composer/librettist, Carmen Moore. Leroy Jenkins was born on March 11, 1932 and began his violin training as a child, studying with Professor O. W. Frederick at the Ebenezer Baptist Church in Chicago. He studied clarinet, saxophone and bassoon under the direction of legendary Captain Walter Dyett at Du Sable High School in Chicago, and received a music scholarship to study classical violin with Bruce Hayden at Florida A&M University. He received a B.S. in Music Education in 1961. Immediately following graduation, he taught music in Alabama schools, and then in Chicago. Classically trained, Jenkins was also influenced by the great jazz masters, and played saxophone and clarinet in a number of jazz ensembles, but his passion, from the age of eight, was the violin, and he found a way to meld his classical technique and his love of jazz when he joined the Association for the Advancement of Creative Musicians, a pivotal Chicago organization which originated a vibrant new form of creative improvised music. Moving to Paris in 1969, Jenkins toured Europe with his first group: The Creative Construction Company of Chicago, with Anthony Braxton and Leo Smith. In 1970, he came to New York and formed another cooperative, The Revolutionary Ensemble, a trio of bass, (Sirone) violin, and drums (Jerome Cooper), which toured internationally to critical acclaim, and went on to record five albums. He also developed his solo compositions and premiered his first works in this format at a concert at the Washington Square Peace Church in Greenwich Village. In the '70s and '80s Jenkins received major support for music composition with many grants and commissions for chamber ensemble, orchestra, dance, and theater. During this period, in addition to touring as a soloist and with various instrumental groups under his leadership, his music was performed by the Brooklyn Philharmonic, the Albany Symphony, the Cleveland Chamber Symphony, the Kronos Quartet, the Dessoff Choirs, the Pittsburgh New Music Ensemble, and the New Music Consort, among others. In 1989 Jenkins was commissioned by Hans Werner Henze for the Munich Bienale New Music Theater Festival to write the opera/ballet, Mother Of Three Sons, choreographed and directed by Bill T. Jones. It premiered in Munich and was later staged by the New York City Opera, the Houston Opera, and was broadcast on German television. He received a Bessie (New York Dance and Performance Award) "for the lyrical, intricately constructed river of jazz and opera". In 1998, the Cleveland Chamber Symphony performed and recorded Wonderlust, a work for chamber orchestra and two soloists and in the last six years Jenkins has performed at numerous festivals and venues here and in Europe including the Other Minds Festival in San Francisco, California Institute for the Arts, the Contemporary Museum in New Orleans, the Chicago Jazz Festival, as well as international jazz festivals in Portugal, Sardinia, and Canada. Other recent projects have been a commissioned piece for tenor, baritone, and brass quartet which was performed at Merlin Hall as part of the World Music series in New York, in San Francisco and at North Florida State University. His most recent touring group - Equal Interest, a trio with violin, (Jenkins), piano, (Myra Melford), and woodwinds (Joseph Jarman) - was formed in 1999. The British Arts Council commissioned its members to write pieces for a group of nine British musicians, and Equal Interest performed with these musicians on a ten-city tour of England. Jenkins held residencies and guest professorships at many American universities including Oberlin, Bennington, Harvard, Brown, University of Michigan, Williams, California Institute of the Arts, Bard College, and Duke. He was guest composer/ master teacher/performer at the Della Rosa of Portland, Tom Buckner's Interpretations series in New York, the American Composers series at the Kennedy Center, the Atlantic Center for the Arts, the Atlanta Virtuoso, and the First American Violin Congress at the invitation of Sir Yehudi Menuhin. He received numerous commissions and awards - from the National Endowment for the Arts, New York Foundation for the Arts, the New York State Council for the Arts, The Rockefeller Foundation's Multi Arts Production Fund among others, and was awarded a 2003 composition grant from the Fromm Foundation for Coincidents. In 2004 he received a Guggenheim Fellowship. Jenkins also collaborated with dancer Felicia Norton and was commissioned by Lincoln Center's Out of Doors Series for collaborations with choreographers Molissa Fenley and Mark Dendy. Jenkins served on the Board of Directors of Meet the Composer in New York and the Atlantic Center for the Arts, and as Artistic Director and Board Member of Composers' Forum. He has sat on many panels for music including the National Endowment, the Herb Alpert Foundation, The Bush Foundation, The Pew Charitable Trusts, and New York Foundation for the Arts, and the New York State Council for the Arts. He placed numerous times in critics' and readers' polls in Downbeat and Jazz Magazine. In groupings from solo to chamber orchestras, Jenkins has recorded 25 albums/ CD's, nine of which have been reissued. Recent recordings include: Solo, a suite for solo violin and viola, Lovely Music (1999), Equal Interest, Omnitone (2000), The Revolutionary Ensemble, Mutable Music (2004), And Now, The Revolutionary Ensemble, Pi Recordings (2004), and The Art of Improvisation, Mutable Music (2006).