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SUMMARY:Spring Benefit
DESCRIPTION:Come together to raise money for PCM’s Tuition Assistance Program\, making music education more affordable! \nWhat you’ll experience: \n\nDelicious Hors D’oeuvres\nRefreshing Beverages\nDelightful Concert\, presented by PCM’s teaching faculty\nWorld Premiere Quintet by PCM’s own Robert Gans\nFund-a-Need Auction for PCM’s Tuition Assistance Program\nAll this in PCM’s newly renovated Performance Hall!\n\nAs cost of living continues to rise\, family budgets continue to tighten. Music education is crucial to the developing minds of youth and the delicate minds of the aging population. In light of that\, PCM is growing it’s Tuition Assistance Program to help more students afford music lessons. Join us for this event and concert as we\, together\, increase our impact in the community. \nInterested in joining the Host Committee? Email Melissa Lund Ziegler\, PCM’s Director of Marketing & Development.
URL:https://pcm.org/event/spring-benefit/
LOCATION:Portland Conservatory of Music\, 28 Neal St\, Portland\, ME\, 04102\, United States
CATEGORIES:Faculty Benefit Concert
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ORGANIZER;CN="Portland Conservatory of Music":MAILTO:registrar@portlandconservatoryofmusic.org
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DTSTART;TZID=America/New_York:20240427T184500
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DTSTAMP:20260416T014432
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SUMMARY:Louis Armstrong's Black & Blues | WMPG Jazz at the Movies
DESCRIPTION:WMPG’s Jazz At The Movies and the Portland Conservatory of Music are pleased to present the documentary “Louis Armstrong’s Black & Blues\,” an eye opening look at one of the 20th century’s most beloved celebrities\, the world famous trumpeter and vocalist Louis Armstrong\, as drawn from his decades of personal scrapbooks\, tapes and private  journals. You know his voice and you know his music\, but do you really know the man himself?\n\nCome join us Saturday\, April 27th at 6:45 pm for a short introductory talk and Sacha Jenkins Jammie’s illuminating film about the celebrated jazz trumpeter Satchmo. “Louis Armstrong’s Black & Blues” is a revealing\, behind the scenes portrait of an artist whose public persona as a cultural ambassador often conflicted with his painful struggle as a black man in the racially segregated United States. “Louis Armstrong’s Black & Blues” tells us the true story of this great jazz man in his very own words.\n\nTickets are FREE and no reservations are necessary. Saturday\, April 27th\, 6:45 pm\, at The Portland Conservatory of Music\, 28 Neal St.\, Portland.
URL:https://pcm.org/event/louis-armstrong-jam/
LOCATION:Portland Conservatory of Music\, 28 Neal St\, Portland\, ME\, 04102\, United States
CATEGORIES:JAM
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DTSTART;TZID=America/New_York:20240418T200000
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SUMMARY:Caroline Davis and Wendy Eisenberg with Rhubarb @ SPACE Gallery
DESCRIPTION:Esteemed composers and improvisors Wendy Eisenberg and Caroline Davis celebrate the April release of their inside-outside songs record.\n\n\nImprovisers\, composers\, songwriters\, and friends\, Wendy Eisenberg and Caroline Davis celebrate the April release of their inside-outside songs and improv duo album Accept When at SPACE. \nWendy Eisenberg and Caroline Davis wrote Accept When between 2022 and 2023\, after a long\, beautiful period improvising together intimately in the safety of a friend’s practice space. Our friendship\, the quality of attention that colored the light of that and all our other practice spaces\, became the basis for our activity and growth as songwriters and our relationship as improvisers. Friendship\, how we relate to each other\, is their nucleus: the central and essential part of their movement; the positively charged central core of their atom. \nA nucleus is supposed to be an especially essential form in eukaryotic cells. Their nuclei are surrounded by a membrane\, which in that world permits them to be said to have “true nuclei.” Even their smallest parts\, their organelles (incidentally also the name of Caroline’s keyboard heard throughout the record)\, are held by that membrane. The deepening of their musical friendship\, the affordance of space they give to the possibility of synchronicity\, the reminders they write of the preciousness of our existence — all of this they put into these songs for you\, to help us all accept these miracles and metaphors\, in our lifeboats. \nAlive with nurturing visions of simple sonic offerings to morph our present situation\, Caroline Davis’ main reason for playing music is to connect with others\, beckoning new vistas among curious listeners. Her musical journey began in Singapore\, in a humid climate\, hearing sounds underwater that she would recreate by singing to her German shepherd dogs\, who treated her as their own. Her family moved to the United States\, Atlanta\, Georgia\, around age 6\, where she encountered R&B and gospel music rife with horns that called her to choose the saxophone 6 years later. Today\, Caroline’s music covers a wide range of styles\, owed to this shifting environment. As a leader\, she has released seven albums\, and her active projects include Portals\, My Tree\, and Alula. Her work has garnered much praise from NPR\, The New York Times\, The Wall Street Journal\, The Wire\, and a host of international publications. \nDavis has shared the stage with Lee Konitz\, Rajna Swaminathan\, Michelle Boulé\, Angelica Sanchez\, John Zorn\, Bari Kim\, The Femme Jam\, Matt Mitchell\, Terry Riley\, Miles Okazaki\, and Billy Kaye. Outside of these performance relationships\, she has been involved with the following mentorship communities: IAJE’s Sisters in Jazz\, the Kennedy Center’s Betty Carter Jazz Ahead Program\, and Mutual Mentorship for Musicians. Grants and residencies supporting a grateful Caroline include: Foundation for Contemporary Arts\, Chamber Music America\, New York Foundation for the Arts\, Jerome Hill\, Civitella\, BringAbout Residency\, The Jazz Gallery\, and MacDowell. Some of her compositional practice integrates music with cognitive science\, influenced by her Ph.D in Music Cognition. \nCaroline is an advocate for social justice in the realms of gender (Jazz & Gender at The New School and This Is a Movement) and in the movement for carceral justice (Justice for Keith Lamar). \nOver the last five years or so Wendy Eisenberg has been keeping listeners guessing. Nominally an improvising guitarist\, they don’t recognize any musical limitations\, perpetually finding ways to apply a deeply exploratory practice to a wide variety of contexts. Eisenberg plays solo guitar as well as banjo in both acoustic and electric settings\, warped post-punk songs in the trio Editrix\, delicately dangerous guitar music in the critically acclaimed Bill Orcutt Guitar Quartet\, country-free jazz in the band Darlin’\, with Lester St. Louis and Ryan Sawyer\, febrile post-Prime Time free jazz in Strictly Missionary\, and punk-prog in a trio with Trevor Dunn and Ches Smith. As Eisenberg told fellow guitarist Nick Millevoi in an interview for Premier Guitar in 2021\, “I need to be in a punk band at the same time as I need to be playing free improv at the same time as I need to be playing songs. All at the same time—otherwise none of the practices will work for me.” Their musical range isn’t a glib manifestation of eclecticism\, but a genuine artistic essence. \nEisenberg has collaborated with a disparate array of musicians from all points along the creative music spectrum\, including Bill Orcutt\, Allison Miller\, Shane Parish\, Francisco Mela\, Carla Kihlstedt\, John Zorn\, and Caroline Davis. They have released music on Tzadik\, VDSQ\, Ba Da Bing! Records\, Garden Portal\, Feeding Tube\, Out of Your Head\, and Dear Life Records\, and performed everywhere from intimate basements to international festivals including Moers\, Le Guess Who? and Big Ears. They also write words about music and other things\, and have published work in John Zorn’s Arcana series\, The Contemporary Music Review\, Talkhouse\, and Sound American.
URL:https://pcm.org/event/caroline-davis-and-wendy-eisenberg-with-rhubarb/
LOCATION:SPACE\, 538 Congress St\, Portland\, ME 04101\, Portland\, ME\, 04101\, US
CATEGORIES:Dimensions in Jazz
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