WE USE THE CREATIVE AND PERFORMING ARTS AND A SUSTAINED MASS MEDIA CAMPAIGN TO HALT THE SPREAD OF HIV.
CAMPAIGN : THE SONG
The Silence Is Broken song is about a woman who discovers she is HIV positive and has to disclose it to her family.
BLACK AIDS INSTITUTE
MAMIE HARRIS, EXECUTIVE DIRECTOR
LIZ BROSNAN, EXECUTIVE DIRECTOR AND YOUTH TO YOUTH EXECUTIVE DIRECTOR BRIAN HAYES
A series of conversations with extraordinary people, living extraordinary lives.
Through their journey they are breaking the silence.
How do you break it?
Billy Childs was born in Los Angeles. Having demonstrated an aptitude for piano as early as age six, Childs developed rapidly, and at age sixteen entered the Community School of the Performing Arts, a preparatory music program sponsored by the University of Southern California, studying theory with Marienne Uszler and piano with John Weisenfluh. In 1975, he entered USC as a composition major, graduating four years later with a bachelor of music in composition under the tutelage of Robert Linn.
Since then Mr. Childs has received a number of orchestral commissions, including: Tone Poem for Holly (1993) and Fanfare for the United Races of America (1994), each commissioned and premiered by Esa-Pekka Salonen and the Los Angeles Philharmonic; The Distant Land (1995) by the Akron Symphony Orchestra under the baton of Alan Balter; Music for String Orchestra (1989) for the Plymouth Music Series, conducted by Phillip Brunelle; and Concerto for Percussion and Concert Band (1986) by the North Texas State Wind Orchestra conducted by Eugene Corporan. His cantata, Just Like Job, also commissioned by the the Akron Symphony Orchestra, had its world premiere on March 15, 1997. Shortly after the completion of Just Like Job, Childs then commenced work on A Day in the Forest of Dreams written for woodwind quintet and piano and commisioned by the Dorian Wind Quintet. The work was premiered in September, 1997 at Merkin Hall in New York city, and was recorded in spring of 1998. In early 2004, Childs completed “For Suzanne” a commissioned composition for the Los Angeles Philharmonic, which was premiered by Childs, the L. A. Philharmonic, and Dianne Reeves, on January 24, 2004 in the newly constructed Disney Concert Hall designed by Frank Gehry. In October 2004 Childs completed “The Fierce Urgency Of Now”, a musical setting of various texts by Dr. Martin Luther King. It was performed by Childs, Wynton Marsalis, and the Lincoln Center Jazz Orchestra as part of the inaugural concert series for the new Jazz At Lincoln Center facility. On April 24, 2005, Childs’ cantata for the Los Angeles Master Chorale entitled “The Voices Of Angels” was premiered at Walt Disney concert hall. After the performance, Childs, along with soloist, Luciana Souza and conductor, Grant Gershon received a ten minute standing ovation and three curtain calls. Childs’ solo jazz recording career began in 1988, when he released Take For Example, This…, the first of four critically acclaimed albums on the Windham Hill Jazz label. He followed that album with Twilight Is Upon Us (1989), His April Touch (1992), and Portrait Of A Player (1993).
Upon Childs’ departure from Windham Hill Jazz. His next album, I’ve Known Rivers on Stretch/GRP (now Stretch/Concord) was released in 1995.
Childs then followed with The Child Within, released on the Shanachie record label in 1996. In two years (1996 & 1997),
Childs was nominated three times for a Grammy award; twice for “Best Instrumental Composition” (1996 – “The Starry Night” from “I’ve Known Rivers” and 1997 – “Aaron’s Song” from “The Child Within” ) and once for “Best Performance by a Jazz Group” (1997 – “The Child Within”). In 2002, Childs received a fourth Grammy nomination in the category of “Best Arrangment Accompanying a Vocalist” for his arrangement of “Fascinating Rhythm” on “The Calling – Celebrating Sarah Vaughn” (Dianne Reeves). Childs’ Jazz-Chamber Ensemble was awarded a sizeable grant by Chamber Music America to perform in a venue of his choosing. Lyric (2005), recorded with that group, was nominated for three Grammys in 2006: best instrumental composition (Into The Light), best instrumental arrangement (Scarborough Faire), and best jazz CD (Lyric). Childs won two Grammys that year; one for best instrumental composition (Into The Light) and another for best arrangement accompanying a vocalist (his fourth nomination that year). In all, Childs has received eight Grammy nominations, winning the award twice.
Other notable accomplishments include having been commisioned twice by the Monterey Jazz Festival: once to write an extended piano concerto (Concerto for Piano & Jazz Chamber Orchestra – 1994) and also to arrange a set of original compositions for Bobby Hutcherson (1998). In the fall of 2000, Childs arranged, orchestrated, and conducted the Dianne Reeves CD, “The Calling: Celebrating Sarah Vaughn”. He has also performed with his own trio in Carnegie Hall.
Currently, Mr. Childs is scheduled to work on a piece for The American Brass Quintet, The Imani Woodwind Quintet, The Jazz Chamber Ensemble with The Ying String Quartet, and another piece for the Los Angeles Master Chorale.
Dave Glasser has worked with such renowned artists/entities as The Count Basie Orchestra (under Frank Foster’s direction), Barry Harris, and Clark Terry. Dave is a current member of Clark’s quintet. When not touring, Dave teaches Bebop Harmony and Saxophone at New York’s New School for Social Research, which has become one of the most influential centers of jazz higher learning in the world.
Dave Glasser has performed with the Clark Terry Quintet (1995 – 2006) and with the Count Basie Orchestra (1989-91 under the direction of Frank Foster), Illinois Jacquet (1988, 1991-95), and Barry Harris. He also performs with the Dizzy Gillespie All Stars (Feat. Jon Faddis, Frank Wess, Jimmy Heath, Slide Hampton, James Moody), Hank Jones, Bob Mintzer and many others. He was a featured soloist with the Earl May Quartet at the Charlie Parker Jazz Festival in NYC in 2000, 2001, and 2002.
Dave’s latest CD, Above The Clouds, was released in the fall of 2006 on Arbors records. Earlier CD’s as a leader include Begin Again on Chiaroscuro records, Dreams Askew on Artemis, and Uh Oh on Nagel Heyer records. He has recorded four CD’s as a member of the Clark Terry Quintet, two as a member of the Earl May Quartet, two as a member of the Count Basie Orchestra, and numerous others as a sideman. For a full list of his recordings please visit his discography page.
Dave has been featured on the cover of JazzEd and Saxophone Journal and has enjoyed features in Jazz Improv, JAZZIZ, and Jazz Times Magazines.
As an instructor, Mr. Glasser has been at the New School Jazz program since 1996 teaching Bebop Harmony, Charlie Parker Ensemble, Ear Training and Applied Saxophone. He was a faculty member of the Clark Terry International Institute of Jazz Studies in Le Mars, Iowa from 1995 – 97, has served as a clinician at numerous universities and high schools around the world and has a strong following as a private instructor.
Born and raised in New York City, Dave Glasser is a graduate of the Fiorello H. LaGuardia High School of Music and the Arts. He received his Bachelors and Masters degrees from the Eastman School of Music in Rochester, New York and has received extensive instruction from Lee Konitz, Frank Perowsky, and Barry Harris.
2005 proved to be quite a year for Barbara. Now, it has been nearly one year since her grand opening of the Palette Gallery in Ojai California and her transformation into a full-time artist and artist representative. In traditional Barbara form, she has managed to turn a few heads in the process. Ojai is a small town full of artists and art lovers, you can see that clearly as you drive through the center of town. Art galleries, music stores, fashion, home decor, fine restaurants and gourmet coffee shops line the streets. This is a town devoted to asthetic, pleasure and healthy living. But Barbara was the first to open a gallery exclusively dedicated to the human form—the nude.
She has attracted, and now represents a growing group of like-minded artists from all over. Her openings have become the stuff of legend, and have not gone unnoticed by the press, citizens and even town officials. The mayor himself was spotted at the opening of Colors of Life, recently.
Figure models, live music, fire artists and even some circus performers all converge to make her art openings interactive, full of life and memorable. But let’s not forget it’s all about the art, and that’s what Barbara does best. With Palette Gallery attracting so much attention to her’s and her fellow artists work, she is now more productive than ever and has reached a creative stride.
Born and raised in Southern California and growing up in a highly artistic family, Fritsche has always been driven to explore her own artistic nature. Self-taught, Fritsche owes much of her technique and approach to the greats that inspired her. Flashes of Cezanne, Matisse and, particularly, Gauguin, are seen in the color and boldness of her work.
A larger and more direct inspiration has been found in building her home and studio in rural Ojai California, where she loves to hike with her dogs, cook and paint. “I can’t live in concrete,” Fritsche says emphatically, “I thrive in nature. A good hike just clears my mind and frees up everything.”
The great outdoors is a common theme in her work with nudes. The subjects of her paintings can often be seen bathing in water and sunning on rocks.
Barbara’s earlier work, evocative and often disturbing, was sparse in both color and structure.
Then, motivated by the need to move fully into a new stage of her career, Fritsche
began to explore the color and form of the female image. Widening and deepening her scope to include all aspects of the human form in their primeval, chthonian manifestations. This develped into a deep passion for the challenge of the female figurative form and the work has since taken on a life of its own. “Given what I’m known for, I’m surprised by its content,” she says, “but this is as much me as anything I’ve done before.”
Long involved in abstract painting, Fritsche has moved into the exploration of figurative painting centered in the use of ambient colors to animate the forms. In many of these compositions, it is interesting to note her juxtaposition of the female figure, long a metaphor for humanity, and the corruption and raw energy of rock forms. There is, of course, an inherent and unconscious reference to Paul Gauguin’s first Tahitian period in both subject and use of brushwork. Fritsche, however, is not engaged in providing a romanticized image, but rather a post-modern contextualization of archtypical women in time and space.
The natural activities and relaxed state of most of the images allow for insight into the private landscape of the female experience. The use of the predominant hues of blues and sepias effect a fascinating “distancing” from the viewer, which allows the viewing of these figures as from a memory, rather than in the harsh light of present time. In all, Fritsche has reengaged the historical language of figurative painting in a fresh and poignant way.
THE SILENCE IS BROKEN
14 MONARCH BAY PLAZA SUITE 128
MONARCH BEACH, CA 92629