For tickets and more information: www.jerusalemjazzfestival.org.il
Like most successful Jewish ventures – as the saying goes – the Drivin’ Jazz program was initiated by a Jewish mother.
Sandler's composition was adopted by various Jewish artists, but it wasn't until Black Jewish musician Willie “The Lion” Smith covered the song in the 1920s, that it became a widespread phenomenon.
Marsalis, who died April 1 at age 85 of complications of the coronavirus, told me that I should “keep up the good work” so that others “may recognize you as a significant model of jazz criticism.”
“Every time I play gigs I get people coming up to me saying: ‘wow! I didn’t realize the saxophone could go so well with this kind of music.’ It’s nice to surprise people with that.”
Rousset says he is delighted to perform in the festival curtain-raiser, and to present works by two of the Baroque era’s most notable exponents.
The American vocalist will enjoy the substantial backing of the Eyal Vilner Big Band, led by the eponymous 34-year-old New York resident Israeli saxophonist, for her tour here.
What are the chances of a lad from the East End of London getting into such an expansive breadth of sounds, rhythms and textures, as well as artistic avenues?
The philosophy of openness preached by the song dovetails perfectly with Miller’s musical ethos as well: making jazz fun and accessible again to all.