BEGIN:VCALENDAR VERSION:2.0 PRODID:-//sebbo.net//ical-generator//EN NAME:Somerset County Library System of New Jersey X-WR-CALNAME:Somerset County Library System of New Jersey BEGIN:VEVENT UID:a786639b-01b7-4862-ba09-b2334e958a39 SEQUENCE:0 DTSTAMP:20260717T150212Z DTSTART;TZID=America/New_York:20240221T190000 DTEND;TZID=America/New_York:20240221T200000 SUMMARY:A Look at Black History Through Jazz LOCATION:Explore From Home\nExplore From Home X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Explore From Home;X-APPLE- RADIUS=10;X-TITLE=Explore From Home:geo:40.5292099,-74.6400432 GEO:40.5292099;-74.6400432 DESCRIPTION:Explore black history through the lens of jazz with author and editor of Jersey Jazz magazine\, Sanford Josephson..\nhttps://sclsnj.libn et.info/event/9018842 X-ALT-DESC;FMTTYPE=text/html:

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Harlem Renaissance:
A look at the music scene in Harlem in the 1920s\, led b y African-American jazz giants such Louis Armstrong\, Duke Ellington\, Bes sie Smith\, and Fats Waller. Harlem&rsquo\;s nightlife was defined by four institutions that served as the crucible for the new form of jazz that wo uld flourish in the next decades:

The rent parties\, which not only provided Harlemites with a way to meet their monthly expenses but cultivated a style of piano music known as stride\, which would bridge th e divide between the ragtime tradition of the early 1900s and the emerging modern jazz piano approach.
The Cotton Club\, known as the &ldq uo\;aristocrat of Harlem&rdquo\;\, offering upscale entertainment to
white customers only.
Connie&rsquo\;s Inn\, the swankiest of Har lem nightclubs
The Savoy Ballroom\, where the swing movement was conceived and born.

Road Warriors:
A look at the cru el treatment that African-Americans received on the road\, especially duri ng the '30s-50s.

For example\, alto saxophonist Earle Warre n would use his light complexion to pass as white so he could go into a re staurant and take out food for his fellow band members.
Trumpete r Howard McGhee was the only black member of Charlie Barnet's band in the 30s. At one hotel\, he arrived to find that there was no reservation for h im and he wasn't allowed to stay there. While the rest of the band checked in and went to sleep\, he was left on his own to roam the streets\, searc hing for accommodations.
The Cab Calloway band would lease a Pul lman car\, and the band members would sleep on the train because it was so hard to find hotel rooms for Black musicians.

Expatriates :
In the years following World War II\, a several African-American ja zz musicians emigrated to Europe\, motivated by the relative lack of racis m\, the working opportunities\, and the appreciation that European audienc es showed for their art. Jazz greats such as \;tenor saxophonists Dext er Gordon and Ben Webster and pianist Bud Powell spent long periods of tim e on the European continent and made many recordings there.

Resist ance to Racism:

In 1935\, Benny Goodman hired Black pianist Teddy Wilson to be part of his trio\, which
also included the white drummer Gene Krupa. Soon after that\, the trio was expanded to a
quar tet with the addition of another African-American musician\, vibraphonist Lionel
Hampton
In 1949\, the mixed-race aspect of trumpeter Miles Davis&rsquo\; Birth of the Cool nonet was groundbreaking. In the words of jazz writer Stanley Crouch: &ldquo\;Close collaboration of the sort [Miles] Davis and John Lewis had with Gerry Mulligan\, Gil Evans \, and Johnny Carisi had not happened before.&rdquo\;
In the 195 0s\, pianist Dave Brubeck refused to cave in when some college deans\, pri marily in the South\, requested that his African-American bassist Eugene W right not perform at campus concerts. Brubeck also turned down a 1958 tour in South Africa rather than sign a contract specifying that his band woul d be all white.

Sanford Josephson is the author of Jer u&rsquo\;s Journey: The Life and Music of Gerry Mulligan (Hal Leonard Books)\, published in October 2015\, and Jazz Notes: Interviews Acros s the Generations (Praeger/ABC-Clio)\, published in June 2009. He is currently Editor of Jersey Jazz Magazine\, published by the New J ersey Jazz Society. He has also written extensively about jazz musicians i n publications ranging from the New York Daily News to Americ an Way magazine and is Vice President of Publicity for NJJS. Josephso n currently co-hosts the Jazz on a Sunday Afternoon concert series at the Jay and Linda Grunin Center for the Arts in Toms River\, NJ. From 2011-201 7\, he curated the &ldquo\;Music in the Moonlight&rdquo\; jazz series at t he Luna Stage in West Orange\, NJ\, a series that he founded. Josephson al so produced the Flemington\, NJ\, segment of the Central Jersey Jazz Festi val from 2014-2016. He also teaches online courses on &ldquo\;Giants of Ja zz&rdquo\; for Rutgers&rsquo\; Osher Lifelong Learning Institute.

In July 2016\, Josephson retired as Director of Public Relations and Devel opment at the Matheny Medical and Educational Center\, a special hospital and educational facility in Peapack\, NJ\, for children and adults with me dically complex developmental disabilities. While at Matheny\, he was inst rumental in promoting its Arts Access Program\, which enables people with disabilities to create fine art\, encompassing visual art\, dance/choreogr aphy\, drama\, and writing. Josephson continues to help publicize Arts Acc ess by writing articles and press releases. His articles have appeared in a several news outlets including New Jersey Stage\, Asbury Park Press\ , mycentraljersey.com\, nj.com\, Bernardsville News\, tapinto.net\, a nd patch.com.

Josephson and his wife\, Linda\, currently reside in Basking Ridge\, NJ\, with their mini dachshund\, Licorice.

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