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Title
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Final Report, Eclipse Jazz Series
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Description
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Report for grant from National Endowment of the Arts of Eclipse Jazz activities, February 1, 1977 - January 31, 1978.
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Creator
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Lee Berry
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Date
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04/20/1978
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License
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Copyright holder does not require licence.
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Rights Holder
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Regents of the University of Michigan
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Format
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.pdf
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Source
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Report to National Endowment for the Arts, folder 2, box 2, Eclipse Jazz (University of Michigan) records, Bentley Historical Library, University of Michigan
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extracted text
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..
Final
Report
Eclipse
Jazz Series
Ann Arbor,
Michigan
April
20 ,· '1978
(February
1,
1977-January
31,
1978)
Eclipse
Jazz was created
by students
and staff
members at the
University
of Michigan
in the fall
of 1975 to satisfy
a need
for greater
diversity
in the university's
existing
programs
of
live
musical
presentations.
In addition,
from its
position
within
the University
Activities
Center,
Eclipse
offered
students
the educational
opportunity
to participate
in virtually
all operational
aspects
involved
in concert
production
and promotion.
Loosely
defined
at the outset,
the organization
quickly
focused
its
efforts
on jazz.
Historically,
Ann Arbor had proven
itself
able to support
the music,
most notably
via the Ann Arbor Blues
& Jazz
Festivals
of 1970-74.
Primarily
because
of inadequate
organization
and management,
however,
such programs
wer~ not
sustained;
the area remained
without
a single
program
embodying
the continuity
necessary
to the· survival
and gro,vth
of jazz
as
an art form.
Utilizin~
a combination
of serious
dedication,
skilled
volunteers,
vigorous
promotion
and boundless
energy,
Eclipse
Jazz undertook
to fill
that
void.
Under the leadership
of
Coordinator
Jimmy
Robins,
five concerts
were presented
the first
year
(Nov. 19751\pril' 1976).
Four of the five
achieved
varying
levels
of financial
success.
The last
in the series,
though,
a brilliant
performance by the Cecil
Taylor
Unit,
fared
1niserably
at the box office.
That showing
illustrated
to incoming
coordinators
Mike Grofsorean
and Lee Berry precisely
the dilemma that
faced
the organization
in 11ay 1976:
Eclipse
could
limit
its
programming
to artists
,vho
posed little
or no financial
risk,
thereby
remaining
solvent.
Or,
a serious
commitment
to presenting
the full
spectrura
of the music,
including
its most creative,
though
least
popular,
~lements
would
be possible
through
t~e conscientious
use of external
funding.
That realization,
and a si1nul taneous
meeting
"''i th Robert
Gordon
in Washington,
led to ~clipsc's
application
to the Endo\mtent
in
June '76. Dy the time the proposal
received
approval
in November,
the organization's
momentum was already
gaining_
Two quite
''commercial"
ventures
- a reunion
perforrnance
by Chick
Corea and Gary
Burton,
and a solo concert
by Keith
Jarrett
- succeeded
in drawing
the attention
of both the public
and the media ..
v1i th
funding,
the program
came into
stabilized
and new ones were initiated._As
}1as grown into one of the most visible,
grarns
:i.n the
country.
NEl\
its
own; existing
projects
a result,
Eclipse
Jazz
most respected
jazz
pro-
Tho origini1l
concert
series
now consists
of five
concerts
per fourJoo~th itcndemi.c ter1n.
'rhcy are carefully
arrilngcd
into
a progression
v7h1ch
fJdYS part.iculc1r
attcnl:icJn
to tho
cc1ucat. • on of those
new to
t.h<~ rnu!;i.c • l\. t.J1c r.;<1me tiine,
each linc>np. t '!eps th(...; seasoned
en thnsi-
I
ast iri mind.
The result
is a logical
(though
not chronological)
sequence
which begins
with
a popular,
contemporary
artist
and
progresses
to the more esoteric
forms.
Each series
ends with
a mains tr.earn artist
\\fhose appeal
is not limited
to students,
since
most students
are occupied
with
final
examinations
at
that
time.A
listing
of the past
two seasons
would
perhaps
provide
the best
illustration:
Fall
1977
Jean-Luc
Ponty
w/Pat Martino
& Bobby Rose
Sonny
Rollins
Quartet
Dexter
Gordon Quartet
Ti1e Art Ensemble
of Chicago
w/ Griot
Galaxy
Oscar Peterson
Winter
·197g
Chick Corea/Herbie
H~ncock
. Sam Rivers
Trio
w/Leroy
Jenkins
Trio
Woody Shaw Concert
Ensemble
Archie
Shepp Quartet
w/Barry
Harris
Trio
Ella
Fitzgerald
To further
encourage.experimentation
with
unfamiliar
art~sts,
Eclipse
introduced
season
tickets
beginning
with
the Fall
1977
series.
A discounted
price
over
five
concerts
plus
priority
seating
offered
all
the incentive
that
was necessary.
The r~sponse
was overwhelming.
The first
series
sold
over
1100 season
tickets;
the second
time ·around,1350
were sold.
This
tremendous
reaction
is largely
responsible
for the better-than-anticipated
financial
results
over the yetir's
fun<lfng
period
(see attached).
Also in September
1977, Eclipse
launched
a second
series
to meet
the increased
demand for avant-garde
jazz witl1out
hindering
the
0
educational
focus
of the main series.
Entitled
Bright
Moments"
(and dedicated
to Rahsaan
Roland
Kirk),
the mini-series
consists
of monthly
performances
by little-known
artists
in sblo
and duet
situations.
The series
opened
with an experimental
recital
by
saxophonist
Marion
Brown and poet Jodi
Braxton.
Continuing
with
performances
by Chico Freeman-Don
Moye, the AIR trio,
Oliver
LakeJulius
Hemphill,
Joseph
Jarrnan-Leo
Smith,
and LP.roy Jenkins,
Bright
Moments has developed
an extremely
loyal,
if small,
follow.ing.
Eclipse
introduced
its
series
of free
Visiting
Artist
Workshops
in February
1977 in conjunction
·with Charles
Mingus'
drummerless
quartet
performances.
That \vorkshop
consisted
of an open rehearsal of "Better
Git Hit in Your Soul".
SubsequeJ1t
,vorkshops
the
first
year
included
lectures
by Henry Threadgill,
Anthony
Braxton,
Marion
Brown and Joseph
Jarman;
demonstration
clinics
by Roscoe
Mitchell,
Gary Burton,
Chico Freeman,
Leroy Jenkins
and Braxton;
and informal
question-and-answer
sessions
with
Sonny Rollins
and
Dexter
Gordon.
These workshops
are open to the public
and have been promoted
as
such in all promotional
materials.
Since
no admission
is charged,
the workshops
qualify
for publ.ic
service
announcements,
which
are
distributed
to,
and aired
by, dozens
of area
radio
stations.
Two
stations
in particular,
WCBN-FM and WIQD-FM, regularly
ilir specials
,.;-hich feature
the music of the artist
(s} presented
by Eclipse
that/
,-,eek.
I
I
1
In January
78, Eclipse
expanded
its workshop
series
to include
a weekly
session
in jazz improvisation
for non-professional
local
musicians.
The Ann Arbor Jazz Workshop,
as it is known, offers
an
otherwi?e
unavailable
opportunity
for local
players
to come togethe:
and share
musical
ideas
on a free,
consistent
basis.
Led by Andy
Drelles,
a highly-talented
flute/reed
player
and bandleader
from
the area,
the workshop
is attended
by thirty
or so players
per week
down from a difficult-to-manage
sixty
at the outset.
Arrangements
are now underway
on a new project
intended
to complement the improvisation
workshop
--- a regularly
scheduled
jam sessic
offering
the players
a chance
to work outside
of the classroom/
workshop
format.
As pr~posed,
a hired
rhythm section
would be on
hand playing
pieces
already
familiar
to workshop
participants,
who
would then alternate
solo spots.
NEA funding
has also assisted
Eclipse
in the publication
of a
tri-annual
newsletter,
containing
interviews
with visiting
musician~
various
relevant
ne\•1s articles
and, of course,
pro1notidna~
material
regarding
future
jazz-related
events.
The mailing
list
of newslette:
recipients,
obtained
from patrons
at concerts,
workshops
and ticket
outlets,
now numbers over 4,000 names,
exclusive
of the media
(approximately
250 additional
addresses).
Though advertisements
are
sold,
it is produced
at a loss -- small in comparison
to the thorouc
coverage
it provides.
The Ecl1pse
newsletter
is but one element
of a larger
system
of
ongoing
promotion
for the program
itself,
aside
from the individual
cantpaigns
for each particular
event.
Beyond the ne\vsletter,
Eclipse
produces
a brocure
and a large
four-color
poster
to publicize
each
season.
These pieces
are printed
in bulk numbers
_(the last
b~ochure
print
was 15,000)
and are circulated
throughout
the southern
Michigan-northern
Ohio region
over a four--rnonth
period.
Meanw}:lile,
Eclipse
has vigorously
distibuted
nearly
a thousand
t-shirts
bearinf the familiar
Eclipse
Jazz logo to patrons
(at $3.75)
as well as
to visiting
artists.
The result
has been a startling
awareness
on
the part
of the community
to the organization
and its programs.
As
hoped,
the program
has gained
a high degree
of trust
based
on past
.
performance
and, with the emphasis
on Eclipse
itself,
patrons
often
experiment
on a concert
if it is an °Eclipse
concert".
It should
be
noted
that
these
general
promotion
expenses
are kept separately
fro
usual
concert
expenses
and are listed
as such on the attached
summary sheet.
1
Structurally,
Eclipse
is now composed of nearly
forty
staffers,
in
addition
to two coordinator/managers.
Since
the vast majority
are
students,
exact
positions
vary i1nmensely,
according
to the anbi tion
skills
and/or
time avail.ability
of the individual.
Generally
speaking,
the work divides
itself
into eight
major areas,
each .of which
is headed
up by a dcpartrn~n·tal
manager or,
sometimes,
a team. Each
manager,
in turn,
has a group of assistants
ranging
in number from
one or two (bookkeeping)
to ten (the rncdia relations
staff).
Relc1ti
within
the industry,
with arts
councils,
booking
agencies
and music
iuns
arc rnaintainccl
primarily
by the two coordinators,
\vho also
are responsible
for overall
office
and staff
management.
Policy
dearc nrrivcc1
at via weekly meetings
of a steering
coITu-n.ittee,
.. cision~;
1
consisting
of a representative
other
concerned
staff
members.
from
each
department
plus
any
With the.exception
of the coordinators,
Eclipse
is.managed
by
volunteers
v1orking out a commitment
to the program's
ideals
and/or
for the unique
training
opportunities
it offers.
as opposed to economic
incentives.
As outlined
in the original
proposal,
coordinators
were t~ receive
payment of $2.50 per hour over
twenty-six
weeks of quarter-time
work, totalling
$1300. Between
the rise
in minimum wage and Eclipse's
own greatly
expanded
projects,
ho\vever,
it quickly
became apparent
that
an accompanying
increase
in salaries
& wages would be necessary.
The resulting
difference
was met out of Eclipse's
operating
budget;
only $1300
was dra\vn from the Endowment funds ..
Through
the educational
focus of the entire
project,
the media
and the community
at large
have come to recognize
jazz as a vital,
meaningful
form of artistic
expression.
As a result,
jazz concerts
in the area have begun to attract
media ·coverage
and, in turn,
attendance
numbers
comparable
to other,
more commonly accepted
musical
genres.
Perhaps
the most striking
~xamples
ar~ the Art
Ensernble
of Chicago
(November
'7 7) arid the Sam Rivers
(February
'78) performances
wh{ch drew audiences
of 1769 and 1833, respectively ..
In the past eightteen
months,
the club scene
in the area has undergone a tremendous
facelif~i11g.
The outcome presents
a~ optimistic
future
from the point
of vic\•7 of the performing
jazz
musician.
Exclusive
of Detroit,
Ann Arbor now boasts
ten clubs
that
feature
jazz on a regular
basis
-- twice the number doing
so two years
ago.
Equally
important,
many players
are beginning
to view Ann Arbor as
a viable
location
to continue
practicing
their
art;
the concept
of
New York as eventual
endpoint
is diminishing
in popularity.
All this
is not to say that
the task is by any means completed.
On the contrary,
the succeE;s of the Eclipse
Jazz program
over the
past three
years
has merely
laid the ground·work
for the future.
Eclipse,
along with Showcase Jazz in East Lansing,
the Allied
Artists
Assoc.iation
in Detroit,
and the Just
Jazz program
in Dearborn,
now faces
the challenge
of maintaining
the current
level
of
consciousness
and building
upon it.
A recent
transition
in leadership within
Eclipse
adds to the formidability
of this
task.
New coordinators
Michael
Landy and Neil Scott
are in the midst
of
directing
arrangcrnents
for a major,
national-scale
jazz festival
for September
as \·Jell as a series
of free outdoor
summer jazz concerts.
Both are impeccably
capable,
well-qualified
individuals
as well as veterans
of tw·o years with the program
as volunteers.
Under their
guidance,
the test
of continuity
can be expected
to
be met. As a result,
Eclipse
Jazz should
be prepared
to carry
011
its activities
as a firmly-established
local
program,
without
external
funding,
by its February
1980 target
date.
----
Lee Derry
