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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

The take-no-prisoners world of high finance and ruthless business deals has long been a tantalizing subject for artists. From filmmaker Oliver Stone’s 1987 “Wall Street,” with its antihero Gordon Gekko spouting “greed is good,” to Damien Lewis’ slick hedge fund mogul Bobby Axelrod in the Showtime series “Billions,” movies and television allow those of us in the 99 percent a glimpse at wha..

Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

“What does it mean to belong? What does it mean to not want to belong?” These are questions that choreographer Reggie Wilson contemplates in his provocative piece “CITIZEN,“ which makes its M..

If even a modicum of redemption can be forged from the hellish after-effects of gun violence, we must listen to the communities most affected by the violence. To this end, “Trigger,” a hip-ho..

Celebrating 35 years is an amazing achievement for any dance company in Miami, but especially one founded in a decade better known for its ties to drugs than to the arts. Momentum Dance Compa..

For Tigertail Productions, April is the month of fire. Like their WATER Festival in 2016, this month’s FIRE Festival celebrates a single element in multiple art forms, including dance, visual..

During the month of April the organizers of the seventh iteration of the O Miami Poetry Festival intend every resident of Miami Dade county to encounter a poem or – even better – write one! An..

As the “home-grown” sweetheart of Miami City Ballet, Patricia Delgado is having her final performances this season before leaving the city and the company she loves to move to New York City.H..

Even people who can’t find Argentina on a map and believe tangos only happen in Paris know La Cumparsita’s iconic four beat opening. Like a bar’s last call, La Cumparsita tells tango dancers ..

Miami City Ballet will conclude its season this week with a rich selection of repertory pieces: two from Balanchine, in very expressive but distinct modes, and one from modern-dance master Pa..

Ballet Flamenco La Rosa’s studio evokes the feel of a tablao in Spain. The strumming of the guitar, the rapid-fire rhythms of footwork against the floor, and the soft voice of the singer reac..

Jazz Roots Run Deep in Miami

Photo: Frost School of Music Dean Shelly Berg; photo courtesy of artist management.
Written by: Fernando Gonzalez
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Many were skeptical when Jazz Roots, a concert and educational series, was launched at the Arsht Center for the Performing Artsin 2008. Even Larry Rosen, who had moved to the area from New York in 2000 and co-founded the event with the Arsht Center, once talked about how “anyone who’s in the jazz business knew that Miami was not a jazz market. So when I came here, I certainly knew what to expect. But you don’t really understand Miami unless you live here.”

So he got to work. A very successful musician, producer, record label owner and entrepreneur, Rosen certainly had experience at going where more timid souls dared not tread, going all-in on the digital revolution in the early 1980s (founding the all-digital GRP record label with composer, arranger and pianist Dave Grusin) and, a decade later, anticipating iTunes with his online music retailer N2K.

To the concept of a jazz series, Rosen brought to bear his experience with branding, a hard-to-match list of jazz contacts, thematic ideas for programming, and an educational approach to promotion, including interviews with the featured artists broadcast on local radio. The series also established a partnership with Miami-Dade County Public Schools and by now, nearly 8,000 high school students have attended concerts, sound checks and Q&A with the artists.

Miami remains a difficult market for jazz— but Jazz Roots has thrived. (Along the way, the series expanded to performing arts centers in places such as Orlando, Dallas, Indianapolis, Newark, Atlanta and Las Vegas.)
Rosen passed away in October of last year, but perhaps there is no better tribute to his talents than a new season of Jazz Roots in Miami, which opens November 4.

Pianist, composer, arranger, producer and dean of Frost School of Music at the University of Miami, Shelly Berg, a longtime friend and collaborator of Rosen and a jazz musician himself, was appointed artistic advisor by the Arsht Center in July. He talked about the challenges of programming and presenting jazz in South Florida and Miami as a 21st century New Orleans.

How do you see the place of Jazz Roots in the South Florida scene?

Jazz Roots is not only a concert series but also 200 kids come to every concert and get to see and talk to the musicians, see the sound-check and attend a master class, so I think in that way it’s a hub for jazz in South Florida. By the time we're done with the series every year, 1,200 school kids who participate in music get extra training.

The other component is curatorial. You want to excite people about the series, so you don't want the music to be so esoteric that it turns them off. In terms of programming we just try to do whatever we think might be the most entertaining. We have built a brand that people trust.

How does the size of the hall (2,200 seats) and the entertainment-directed approach frame your programming choices? Does it automatically preclude more challenging, adventurous artists and styles of jazz?

Everything is on the table — but I don't think entertainment is a dirty word. In [an area] of two million people you can probably find a hundred people to like almost anything. But if you are going to do something for a subscription series, for people who trust a brand, then my filter is not only how great the music is but also how entertaining is it going to be for the audience. The other thing we consider when we book artists is the education and inspiration that they might provide young people. That's been a cornerstone of Jazz Roots from the very beginning.

How was this season put together — especially being the first one without Larry?

Larry Rosen’s vision for this series was not to just see who was on tour and plug in six dates. For those of us who were at the beginning of this, we knew that there was a vision, and part of that vision was to make something special happen six nights a year in a concert hall so a large audience that are not just your jazz devotees, walk away thrilled and would want to hear more.

The idea has been to curate a six-concert season that had some sort of a narrative and along the way, create something special. The first concert is To Larry with Love, the tribute to Larry. Every year ever since Jazz Roots started, we kick off the season with a curated concert for which we write the script, we hire the artist and create a one-time, it-only-happens-in-Miami event. We also have the Chick Corea and Gonzalo Rubalcaba concert. That wasn't something that was going around, that's something we curated.

Branford Marsalis and Kurt Elling had never performed together. … We asked them to come and do this concert for Jazz Roots.

And Steve Miller is a rock star. He can charge for one concert what we have as a budget for the whole season. But he's coming to Miami because he wants to do the show here. So to the extent that I can do what Larry did, and use our relationships to curate singular events that you cannot hear anywhere else, I will be very happy to do that.

You have a lot on your plate as a musician and educator, why taking on Jazz Roots?

I’m so honored to be able to keep Larry's vision going. Larry started a jazz record company when jazz was supposed to be dead — and it was huge. And Larry started a jazz concert series in a concert hall when you were not supposed to do that — and it's been very successful. When 1,800 people walk out of the Arsht Center and say “I'm so glad I went,” you are creating a better world for jazz.

Jazz Roots 2016-2917 six-concert season featuring Dave Grusin, Steve Miller, Chick Corea, Gonzalo Rubalcaba, Branford Marsalis, Kurt Elling and the Jazz at Lincoln Center Orchestra featuring Wynton Marsalis; opening November 4, 8:00 p.m. with To Larry With Love, Knight Concert Hall at the Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami; tickets range from $45-$125. For series subscriptions and individual tickets, 305-949-6722, or online at arshtcenter.org/jazz.

 



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About The writer

Music writer, associate editor of the Latin GRAMMY Print & Special Projects for The Latin Recording Academy

Emmy-winner and GRAMMY®-nominated writer, critic, and editor Fernando González is the associate editor of The Latin GRAMMY Print & ..

About the Writer

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