07.11.2010

Reggae star Gregory Isaacs dies: BBC

LONDON (AFP) – Jamaican reggae star Gregory Isaacs, best known for the 1982 song "Night Nurse", has died at his London home, aged 59, his wife said Monday.

Isaacs, who released some 500 albums and worked with the likes of Lee "Scratch" Perry and King Tubby, had lung cancer.

"Gregory was well-loved by everyone, his fans and his family, and he worked really hard to make sure he delivered the music they loved and enjoyed," his wife Linda said, in comments cited by the BBC.

"He will be greatly missed by his family and friends."

"Night Nurse" was recorded at Bob Marley's studios in Kingston. The song was later covered by Simply Red featuring Sly and Robbie in 1997.

Nicknamed The Cool Ruler by fans, Isaacs was a heavy drug user for periods of his career. He recorded his final album in 2008.

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Russian wins Polish piano contest

WARSAW, Poland – A jury of the world's leading pianists awarded this year's Chopin Piano Competition to Russian Yulianna Avdeeva, the first woman to win the prestigious classical music competition in 45 years.

Avdeeva, 25, was selected by the jury for the gold medal and euro30,000 ($41,500) prize. Winning the title opens the doors to the best concert halls around the globe and deals with recording companies.

"I'm very excited, it is difficult to describe in words, but I'm very, very happy to be here," Avdeeva said after the competition, adding that she had been working toward this her "whole life."

Held only once every five years, the competition involves three grueling weeks of performing the works of Poland's beloved 19th century composer, Frederic Chopin. It culminates in concerts of the 10 finalists performing with an orchestra. Avdeeva said she was so taken by the music, she had no time to think of the competition.

"Chopin's music is so very special, I was enjoying every performance because I was not thinking about the competition, but was thinking about the music only," she told reporters.

The contest is known for its tough judging — in 1990 and 1995 none of the contestants was deemed good enough for the top prize.

Martha Argerich, a past winner and member of the jury, told The Associated Press the panel had been impressed by the searching quality in Avdeeva's performance.

"She's a very harmonious artist. She's always searching for some kind of truth," said Argerich, who won in 1965.

"I am extremely happy about Yulianna, and particularly because she is the first woman after 45 years. After me there was no lady, so I am very happy — double — for this."

The prize for runner-up prizes was shared between Ingolf Wunder, a 25-year-old Austrian and Moscow-born Lithuanian Lukas Geniusas, 20. Third prize went to Daniil Trifonov, 19, of Russia. Bulgaria's Evgeni Bozhanov, 26, won fourth prize and the fifth prize was awarded to Francois Dumont, 25.

The contestants spent three weeks playing technically demanding Chopin works, from studies and preludes to large forms like the sonatas and, finally, concertos, performed on stage.

Chopin, born in 1810 of a Polish mother and a French father, drew widely from folk and Polish national dance music, like the quick-tempo mazurka, or stately polonaise. The emotional aspects, combined with technical challenges and changing tempos make Chopin's music especially tough to perform.

The competition started in 1927 and has been held every five years since, except for a hiatus during World War II. Past winners include Maurizio Pollini of Italy, Argentina's Argerich, Poland's Krystian Zimerman and Rafal Blechacz.

The prize winners are to perform at gala concerts on Thursday, Friday and Saturday.

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Hitting a high note by helping high school musicians in Seattle shed limitations

Seattle – You know the scene: a shabby stage crowded with eager high school musicians. A young director steps onto the podium, raises his baton, waves that first dramatic downbeat - and for the next couple of hours the audience of parents, reluctant siblings, and loyal friends endures "music" punctuated by tempos that drag, clarinets that squeak, and violin solos only a parent could love.

High school music is what it is - usually tolerable, now and then pretty good. Except in Seattle, and especially at James A. Garfield High, where it is exceptional, featuring arguably the best program in the nation among public high schools.

Ask people here why the school is so successful, and they'll give you two reasons: African-American drummer Clarence Acox, who leads the jazz ensembles, and Japanese-American bassist Marcus Tsutakawa, who conducts the orchestras.

"They set this expectation for excellence, and they know the kids can achieve it," says parent Laurie de Koch, whose son Willem plays trombone in both orchestra and jazz ensemble. "What if every educator had an expectation for the achievement of excellence in every student? It would change the world."

It certainly has changed things at Garfield. The jazz ensemble has won the prestigious Essentially Ellington competition sponsored by Jazz at Lincoln Center four times since 1999 and has toured Europe nine times.

The orchestra has been named Downbeat magazine's top high school orchestra of the year three times since 2001 and has toured Europe and Japan (four times). Last year it played at New York's famed Carnegie Hall.

The orchestra also produced a recording nominated for a Grammy.

The programs don't cater to just an elite few. "My mission is to teach all the kids about classical music - not just the kids who have had private lessons since age 5," says Mr. Tsutakawa, who this year, his 26th at Garfield, has about 200 students spread among three orchestras.

"Kids from disadvantaged homes, first-generation Asians - I'm really proud of the fact that these kids have this experience. If they didn't play in orchestra, they wouldn't be exposed to all of this great art."

Tsutakawa and Mr. Acox credit their support networks, including past and present principals, music-faculty colleagues, and especially the orchestra and jazz parent groups, which raise tens of thousands of dollars each year for the programs.

"I don't count on the school district for anything," Tsutakawa says softly. "Because of my parent group, I have the freedom to buy everything I want - music, instruments, travel. We bought a $3,000 string bass. I spent $700 or $800 on new music. We just got a $10,000 gift from the parent of a former student."

Adds Acox, in his patient New Orleans baritone, "I always say this: that administrators who only focus on math, reading, and science are not thinking big enough - because we need to be about the business of educating and developing the total student.

"I know for a fact that there are kids who would not be in school if there weren't music programs. Kids who are involved in the arts ^aEUR" there's a much better correlation of them succeeding."

Danielle Kuhlmann played French horn for both Tsutakawa and Acox, graduated in 2003, and lives today in New York playing classical gigs, Broadway shows, jazz, and rock. "They're both really humble, and I think that contributes to the program's success," she says of her two mentors. "Both of them are so positive. They care about all of their musicians."

Several of his students say choosing difficult music is part of Tsutakawa's success. "I played every major symphony before I got to college," Ms. Kuhlmann says. 6quot;That was amazing. We were always challenged to play difficult pieces."

Seattle has a storied jazz scene and is a robust market for classical music. Two middle schools, Washington and Eckstein, have developed stellar music programs of their own that feed Garfield, as well as Roosevelt High in the north end. Either Garfield or Roosevelt has won Essentially Ellington seven times in 11 years.

Ms. de Koch lists four qualities she sees Acox and Tsutakawa inspire: discipline, perseverance, accountability, and integrity.

"Most of these kids will not go on to be professional musicians," she says. "As a parent, I really value these other qualities they instill."

Acox, who joined the school in 1971, only expected to stay a couple of years.

"I have been very successful in creating an environment where the kids can expand," he says. "I expose them to the music of the masters, let them listen to it, and develop a concept of what swing music should sound and feel like. It far exceeded my wildest expectations."

Tsutakawa never lets his passion wane. "I hate missing a day of class with these kids," he says. "The day after a concert, if they don't bring their instruments, they hear from me - especially the freshmen: 'No, we can't take the day off.'

"But the thing that I work on the most is learning every kid's name," he adds. "I know it sounds really corny. I try to do it as fast as I can."

For more stories about people making a difference, go here.

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