Austin Downtown Arts

September - October 2001
Volume 7 Number 7

The Creative Opportunity Orchestra
An Interview with Tina Marsh by Elizabeth Stanard
[Perhaps] that one person came to you and said, "I had an authentic experience with you during this time." And when you really come down to it, that's what it's actually about.
--Tina Marsh

EpistrophyArts
An Interview with Pedro Moreno by Elizabeth Stanard
Some people are afraid that they have to know the whole history of the music and know the developments of the history of jazz. And I think that that's an attitude in jazz that's sort of been perpetuating kind of the snobby attitude. But if you see any good music performed well, you're going to get it.
--Pedro Moreno

Getting off My Feet poetry by Daniel Davis Clayton

Growing Up Beat by Ricardo Avecedo
My parents were Beatniks, not Hippies.

An Interview with Carmen Bradford by Paul Klemperer
Carmen Bradford has a busy life, from teaching voice lessons at the University of Southern California, touring the U.S., Europe and Asia, writing a book on vocal technique, and working on various recording and film projects. But she loves it.

An Interview with Jason Moran by Tom Benton
Raised in Houston and a graduate of the city's prestigious High School for the Performing and Visual Arts, Moran discovered jazz in his teens, after a decade of classical training.

Notes from the Woodshed by Paul Klemperer
One of the musical hats I wear is that of educator, teaching both jazz technique and jazz history. So I am no longer surprised when a young person's idea of jazz may be anything from Louis Armstrong to Maynard Ferguson to Brian Setzer to Kenny G.

Section Eight by Daniel Davis Clayton
It was a warm southern night in Emory, Texas. I was 17 winters older than birth and I pilgrimaged to the backyard with a trash bag filled with my most treasured possession.

Women in Jazz:
An Interview with Founder Pam Hart by Harold McMillan
We don't have a jazz "community." Producers don't get together to plan an Austin jazz calendar or to consult on show dates. We hardly even support one another. That would be nice, though.
-- Pam Hart

Up All Night by Harold McMillan
Wouldn't it be great if some jazz heads got together, formed a society, and brought all of the various segments of the jazz community together for our mutual benefit?