From the Desk Of: Eugene Marlow
Veterans Day in Music

veterans-day-poster-2019-The Marlowsphere Blog (#145)

Monday, November 11, 2019 is Veterans Day. While Veterans Day is usually associated with those who have fallen in battle and those who have served their country, of men and women in uniform, weapons of land, sea, and air, and “the art of war,” the United States military is more than that. The various branches of the military—Marines, Army, Air Force, Navy, Coast Guard—also guard America’s walls through music.
This 2019 Veterans Day blog is dedicated to the men and women who not only serve in uniform, but also serve, not with a weapon in their hands, but with musical instruments. I have chosen this perspective this year because I am also a musician and a military veteran. I served as an Air Force historian for most of my four-year hitch during the Vietnam War era. I also got a lot more involved with music while serving my adopted country. (See Marlowsphere Blogs: Under the Influence of. . . Frank and Butch and Sonny and Rudy: Part I  and  Under the Influence of. . . Frank and Butch and Sonny and Rudy: Part II”.)

Each branch of the United States military has several bands—traditional military, ceremonial, classical, jazz, and in one instance, rock. Each musician is required to go through basic training and, if called upon, to carry a weapon. Even though it could be perceived that performing in a military band would not require as much training or discipline as in a civilian band, quite the opposite is true. Military musicians are held to a high standard. You just need to go listen to the many albums and performances these bands collectively have recorded and you realize very quickly the high quality of the performance.

What follows, then, are descriptions of the military bands by branch. Most of the material has been drawn directly from each military branch’s “band” website:

The Marine Bands

Established by an Act of Congress in 1798, the Marine Band is America’s oldest continuously active professional musical organization. Its mission is unique—to provide music for the President of the United States and the Commandant of the Marine Corps. Because of the demands of this unique mission, “The President’s Own” is known to have included strings when performing for major White House events as far back as 1878 and during the directorship of John Philip Sousa, composer of “Stars and Stripes Forever.” An orchestra taken from within the Marine Band also gave regular concerts at the Marine Barracks music hall in Washington, D.C., as early as 1893.

On April 14, 2019, the Marine Chamber Orchestra, conducted by Assistant Director Capt. Ryan J. Nowlin, performed Johann Sebastian Bach’s Suite No. 4 in D, BWV 1069; Wolfgang Amadeus Mozart’s Horn Concerto No. 2 in E-flat, K. 417; and Joseph Haydn’s Symphony No. 103, Drum Roll. The concert took place at the Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College in Alexandria, Va. (U.S. Marine Corps photo by Master Sgt. Kristin duBois/released)

The U.S. Marine Symphony Orchestra officially emerged as a concert ensemble under the leadership of William H. Santelmann, Marine Band Director from 1898-1927, composed of band musicians who doubled on a string instrument. The doubling requirement ended in 1955, and a chamber orchestra staffed by full-time string players was formed. That model has continued to the present and the musicians of today’s Marine Chamber Orchestra musicians hail from some of the nation’s most prestigious universities and conservatories. More than 60 percent hold advanced degrees in music. Musicians are selected at auditions much like those of major symphony orchestras, and they enlist in the U.S. Marine Corps for permanent duty with the Marine Band.

(Above photo: The Marine Chamber Orchestra, conducted by Assistant Director Capt. Ryan J. Nowlin. Photo by: Master Sgt. Kristin duBois/released)

Marine Chamber Orchestra musicians appear at the White House an average of 200 times each year, performing for State Dinners, ceremonies, receptions and other events of national significance. These performances range from small ensembles such as a solo pianist or string quartet to events that feature the full chamber orchestra, making versatility an important requirement for members.

In addition to its regular appearances at the White House, the Marine Chamber Orchestra performs concerts during both an annual showcase series and summer series. Performing a wide variety of music from the staples of the orchestral repertoire to modern works, Broadway and light classical selections, these concerts give patrons a virtual glimpse inside the Executive Mansion. The musicians of the Marine Chamber Orchestra are frequently highlighted in solo performances and also participate in chamber ensemble recitals and educational outreach programs that feature a variety of smaller instrumental groups.

The Marine Band performs a varied repertoire including new works for wind ensemble, traditional concert band literature, challenging orchestral transcriptions, and the patriotic marches that made it famous. The band frequently features its members in solo performances that highlight their virtuosity and artistry.

The Marine Band performs at the White House, at the Presidential Inauguration, State Funerals, full honors funerals at Arlington National Cemetery, and the Marine Barracks Washington, Friday Evening Parades. A 42-piece Marine Band is used for all Pentagon and formal military arrivals and patriotic openers for large events. Patriotic openers consist of 15 minutes of patriotic music, the presentation and retirement of the colors, and performances of the National Anthem and The Marines Hymn. Patriotic openers are performed throughout the Washington, D.C. metropolitan area at a variety of events for military organizations, federal agencies, and associations.

 

The United States Army Bands

United States Army bands provide music throughout the entire spectrum of operations to instill in American forces the will to fight and win, foster the support of our citizens, and promote America’s interests at home and abroad. The Army has 21 Regional Bands stationed around the country and the world. The mission of each band varies, but they often tour regionally and nationally to perform for the public during parades, concerts and other events.

399th Army Band Ft. Leonard Wood, MissouriThe United States Army has bands in various categories: Active Bands, Army Reserve Bands, and National Guard Bands. It even has its own music school, the United States Army School of Music located in Virginia Beach, Virginia, where musicians are put through a 10-week training course.

There are 15 Active Army Bands: 1st Armored Division Band (Fort Bliss, Texas), 1st Cavalry Division Band (For Hood, Texas), 1st Infantry Division Band (Fort Riley, Kansas), 3rd Infantry Division Band (Fort Stewart, Georgia), 4th Infantry Division Band (Fort Carson, Colorado), 9th Army Band (Anchorage, Alaska), 10th Mountain Division Band (Fort Drum, New York), 25th Infantry Division Band (Wahiawa, Hawaii), 56th Army Band (Joint Base Lewis-McChord, Washington), 77th Army Band (Fort Sill, Oklahoma), 82nd Airborne Division Band (Fort Bragg, North Carolina), 101st Airborne Division Band (Fort Campbell, Kentucky), 282nd Army Band (Fort Jackson, South Carolina), 282nd Army Band, Detachment I (Fort Gordon, Georgia), and the 323nd Army Band “Fort Sam’s Own” (Fort Sam Houston, Texas).

 

The United States Navy Band

Its mission is to provide musical support to the President of the United States, the Department of the Navy (DON), and other senior military and government officials. Through ceremonies, national and regional tours, public concerts, and recordings, the U.S. Navy Band inspires patriotism, elevates esprit de corps, enhances Navy awareness and public relations, supports recruiting and retention efforts, preserves the Nation’s musical heritage, and projects a positive image at home and abroad.

U.S. Navy BandThe United States Navy Band is the premier musical organization of the U.S. Navy. Comprised of six primary performing groups as well as a host of smaller ensembles, “The World’s Finest” is capable of playing any style of music in any setting.

Since its inception in 1925, the Navy Band has been entertaining audiences and supporting the Navy with some of the best musicians in the country. From national concert tours to presidential inaugurals to memorial services at Arlington National Cemetery, the Navy Band proudly represents the men and women of the largest, most versatile, most capable naval force on the planet today: America’s Navy.

One hundred seventy enlisted musicians, recruited from the finest music schools and professional musical organizations, perform over 270 public concerts and 1,300 ceremonies each year. In addition to their demanding performance and rehearsal schedules, band members are responsible for the daily administration of the organization, including operations, public affairs, a large music library, information systems and supply. As the Navy’s musical ambassadors, band members maintain the highest standards of appearance, military bearing and physical fitness.

The United States Navy Band, nationally and internationally, stands for musical and military excellence. Whether performing at Carnegie Hall, the White House or a rural civic auditorium; sharing the stage with Ernest Borgnine, Itzhak Perlman, Branford Marsalis or Vince Gill; or appearing on television programs like “Today,” “Meet the Press” and “Good Morning America” and in films like “Clear and Present Danger.”

 

United States Air Force Bands

Air Force Strings: The Air Force Strings is the official string ensemble of The United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is one of six musical ensembles that comprise The U.S. Air Force Band. The Air Force Strings consists of 20 active duty Airmen musicians performing a wide range of musical styles, from classical symphonic selections and Broadway show tunes to classic rock, bluegrass and patriotic compositions. The ensemble often entertains audiences at high-level military and government events in a formation known as the Strolling Strings. Providing a multi-dimensional experience, the instrumentalists surround the audience performing from memory without the aid of a conductor.

The Airmen of Note is the premier jazz ensemble of the United States Air Force. Created in 1950 to continue the tradition of Major Glenn Miller’s Army Air Corps dance band, the current band consists of 18 active duty Airmen musicians including one vocalist.

The Ceremonial Brass is the official ceremonial ensemble of The United States Air Force. Featuring 38 active duty Airmen musicians, the Ceremonial Brass includes brass and percussion instrumentalists, a bagpiper and a drum major. The ensemble provides musical support for funerals at Arlington National Cemetery in various configurations to include 16-member ensembles for full-honor funerals and individual buglers to render taps. Additionally, the Ceremonial Brass supports state arrivals at the White House, full-honor arrivals for foreign dignitaries at the Pentagon, patriotic programs, and change of command, retirement and awards ceremonies.

The United States Air Force Concert Band is the premier symphonic wind ensemble of the United States Air Force. It is the largest of Air Force’s six musical ensembles. Air-Force-Band-Collegiate-SymposiumFeaturing 53 active duty Airmen musicians, the Concert Band performs throughout the United States via biannual tours, live radio, television and Internet broadcasts, as well as at local concerts across metropolitan Washington, D.C. Additionally, Concert Band members perform in smaller chamber ensembles at official military and civilian functions, education outreach events and local concert venues.

Max Impact is the premier rock band of the United States Air Force. This six-piece band performs classic and current rock and country hits, as well as patriotic favorites and original music. Through national tours, local performances and digital audio and video recordings, Max Impact showcases Air Force excellence to millions each year. Back at home, they support events for the White House, State Department, Department of Defense and numerous other high-level military and civilian functions, using music to advance international diplomacy with America’s allies and strategic partners.

The Singing Sergeants is the official chorus of the United States Air Force. Featuring 23 active duty Airmen musicians, the Singing Sergeants presents more than 200 performances annually performing a wide range of musical styles, from traditional Americana, opera, and choral standards to modern Broadway and jazz. The Singing Sergeants regularly perform with their instrumental combo and in smaller configurations, such as duets, Barbershop quartets and specialized musical ensembles, at military and civilian ceremonial and diplomatic functions, education outreach events and local concerts throughout metropolitan Washington, D.C.

 

The United States Coast Guard Band

The United States Coast Guard Band is a military band maintained by the United States Coast Guard. Established in 1925 and classified as a “premier ensemble”, the Coast Guard Band is stationed at the U.S. Coast Guard Academy in New London, Connecticut and is responsible for providing musical support to the Coast Guard Academy’s corps of cadets, as well as other official Coast Guard events and ceremonies. During the summer months it undertakes national and international tours to promote the Coast Guard.

As of 2016, the U.S. Coast Guard Band is the Coast Guard’s only professional musical ensemble (a second branch band, the U.S. Coast Guard Pipe Band, is an auxiliary-staffed organization).

In 1989 the Coast Guard Band became the first U.S. military band to perform in the Soviet Union and, in 2016 the Coast Guard Band performed at the debut of “The Finest Hours” at Mann’s Chinese Theater, the first time the band had performed at the debut of major motion picture.

In late 2015 the Coast Guard began another study about the feasibility of relocating the band from its traditional station in New London, Connecticut to Washington, DC. The proposal to relocate the band has been opposed by United States Senator Richard Blumenthal.

Almost all personnel of the Coast Guard Band are assigned to the ceremonial and concert bands, the group’s primary performance units. The band, however, maintains several chamber music groups to provide specialized performance capabilities to which some personnel are co-assigned. This includes a woodwind quintet, a brass quintet, and a jazz band.

According to the Coast Guard, competition for its limited vacancies is fierce, and many new Coast Guardsmen enlisting as musicians are conservatory-trained with degrees from elite institutions including the Juilliard School, Eastman School of Music, and the New England Conservatory. A number of its members also perform with the Eastern Connecticut Symphony Orchestra, the Hartford Symphony, and the New Haven Symphony.

Operationally located at Leamy Hall at the U.S. Coast Guard Academy (New London, Connecticut), the band has billets for 54 instrumentalists and command staff, and one vocalist.


Eugene Marlow, Ph.D. teaches courses in media and culture at Baruch College (City University of New York). He is a four-year United States Air Force veteran who served during the Vietnam War.  He co-founded the Annual Veterans Day Luncheon at Baruch College, CUNY in 1998. He is a composer/arranger of approximately 300 pieces of music, 32 albums and single tracks, and founder/leader of the Eugene Marlow Heritage Ensemble.


© Eugene Marlow 2019

Back to Top


What Is Jewish Music?

CantorMarlowsphere Blog (#144)

What is Jewish music? At its essence, Jewish music, like music of any identified culture, reflects Jewish values and experiences.

For example, an obvious, partial answer to the question “What is Jewish music?” is music of the synagogue, the schul: cantorial music, liturgical music, and cantillation. Melodies such as “Halleluyah,” “Heine Ma Tov,” “V’Taher Lebeinu,” “Yis Ma Chu,” “L’Cha Dodi,” “Avinu Malkeinu,” and “Kol Nidre.”

Then there are melodies sung and played at various Jewish celebrations—Chanukah, Passover, and Purim—in the synagogue and in Jewish homes, such as “Moaz Tsur,” “Chanukah, O, Chanukah,” “Dreidel, Dreidel, Dreidel,” “Sevivon,” “Mishenichnas Adar Marbim Be-Simecha,” “Layehudim Haitah Orah Ve-Simechah, Ve-Sasson, Ve-Yakar,” “Adon Olam,” “Mah Nishtanah Halaylah Haze,” and “Eliyahu Hanavi.”

And there are countless folk melodies, for example “Ata Hu Hashem,” “Lahadam,” and “Erev Shel Shoshanim.” This catalog of Jewish music must also include Israel’s national anthem “Hatikva” and the most covered Jewish melody of all “Hava Nagila.”

There is also Klezmer: a musical tradition of the Ashkenazi Jews of Eastern Europe. Played by professional musicians called klezmorim in ensembles known as kapelye, the Klezmer Musicgenre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish-speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924, came into contact with American jazz.

And there is nigunim: A nigun (singular of nigunim) (Hebrew: meaning “tune” or “melody”) is a form of Jewish religious song or tune sung by groups. It is vocal music, often with repetitive sounds such as “Bim-Bim-Bam”, “Lai-Lai-Lai”, “Yai-Yai-Yai” or “” Ai-Ai-Ai” instead of formal lyrics. Nigunim are especially central to worship in Hasidic Judaism.

In the 20th and 21st centuries the advent of Jewish music and music based on Jewish culture and themes extended beyond the synagogue and Jewish home, as in Broadway musicals, such as:

Fiddler on the RoofAmerike—The Golden Land (1982), Cabaret (1966), Falsettos (1992), Fiddler on the Roof (1964), I Can Get It For You Wholesale (1962), Milk and Honey (1961), Ragtime (1998), The Immigrant (2004), The People in the Picture (2011), The Zulu and the Zayda (1965), and War Paint (2017).

Films with Jewish “sounding” music and Jewish culture and themes are just as numerous, and include most famously “The Jazz Singer” (1927), “The 10 Commandments” (1956), “Ben Hur” (1959),  “Exodus” (1960), “Funny Girl” (1968), “Oliver” (1968), “Fiddler on the Roof” (1968), “Yentl” (1983), “Schindler’s List” (1993), “Eight Crazy Nights” (2002), “Munich” (2005), and “Defiance” (2008).

In the genre of jazz, the inventory of “jazz Jews” inspired British author and radio show host Mike Gerber to pen a 656-page volume titled Jazz Jews (published in 2009). Some of these Jews wrote a treasure trove of Yiddish music that found its way into the popular culture, such as Sholem Secunda’s “Bay mir bistu sheyn”

The list of Jewish composers and performers who contributed to the “Great American Songbook” is very long and includes such notables as Aaron Copland, George Gershwin, Irving Berlin, Leonard Bernstein, Neil Sedaka, Carole King, and Bob Dylan. Berlin, who wrote close to 2,000 Neil Sedakatunes, famously wrote the most popular Christmas song ever, “I’m Dreaming of A White Christmas.” And Neil Sedaka, who wrote, among many others songs, “Stairway to Heaven” and “Breaking Up Is Hard To Do,” is aptly named. In Hebrew Sedaka means “righteousness” or more popularly “charity.”

Clearly, while Jewish music has its origins in religious observance in the schul and in the Jewish home and is a significant cultural glue that bounds the Jewish community in the diaspora, Jewish music as a reflection of Jewish culture and themes has spread globally thanks to information, communications, and transportation technologies in the 20th and 21st centuries..

So, what then is Jewish music in contemporaneous terms? Is it strictly the music of the synagogue, Jewish melodies sung in the home, or Israeli folksongs, et al? In the context of globalism these definitions, while correct, are too constrained. Can we not define Jewish music as music based on Jewish sounds, culture, and themes?

A.Z. Idelsohn We must now also define Jewish music in the current cultural context, which is: no culture is pure; all cultures are a mixture. And it has been this way for thousands of years. Cultures are influenced by other cultures. No less than the father of Jewish musicology A.Z. Idelsohn in his seminal work Jewish Music in Its Historical Development (1929) in the very first sentence of Chapter I “The Song of the Synagogue,” states: “In surveying the development of music in ancient Israel it is essential to consider the music of Israel’s ancient neighbors.” In other words, no culture, let alone musical culture stands alone. Outside influences have an impact.

For the Jews in the diaspora and even now in Israel, outside musical cultures must be taken into account. And the cultural flow goes both ways. Earlier I referenced “Hava Nagila,” the most covered Jewish melody ever. Quite apart from Harry Belafonte’s rendition, Machito, one of the progenitors of Latin-jazz in New York City, also covered this same melody. On a 1951 recording he called the tune “Mambo Holiday.” My own Heritage Ensemble Quintet has taken two dozen Hebraic melodies and morphed them into arrangements using various jazz, Afro-Caribbean, Brazilian, and classical genres.

All in all, Jewish music—while born in religious observance—has clearly evolved and incorporated the cultural diaspora into its musical catalog.

© Eugene Marlow 2019

Back to Top


2019 Upcoming Events
July 5 Radio Play: Bobby Sanabria, host of WBGO’s “The Latin Jazz Cruise,” spins Eugene Marlow’s Latinized arrangement of “Hatikva,” the Israeli national anthem, from his 2011 “Fresh Take” album (MEII Enterprises). Recorded by Marlow’s Heritage Ensemble. WBGO is the most listened to jazz radio station in the world.
July 7 Composition: Dr. Eugene Marlow completes work on a 20-minute, seven piece suite for woodwind quintet entitled “Colors.” Of this work, award-winning composer/educator Dr. Alice Anne LeBaron (California Institute of the Arts) stated: “The harmonic choices, the contrapuntal activity, and the rhythmic vitality all conspire to make Colors a memorable piece that I’m sure wind quintets would want to program.”
July 12 Performance: The Heritage Ensemble (trio) provides live music for the Zicklin School of Business Executive MBA Program Graduation reception at the Pierre Hotel (New York City).
July 19 Radio Play: Multi-Grammy nominee Bobby Sanabria, host of WBGO’s “Latin Jazz Cruise” spins “Arco’s Arc” Eugene Marlow’s original composition from his “Obrigado Brasil” (2017) album. WBGO is the most listened to jazz radio station in the world.
August 2 Radio Play: Bobby Sanabria, host of WBGO’s “The Latin Jazz Cruise,” spins Eugene Marlow’s original composition “Enigma” from his “Obrigado Brasil” album (MEII Enterprises 2016). Recorded by Marlow’s Heritage Ensemble. WBGO is the most listened to jazz radio station in the world.
August 28 Dr. Eugene Marlow begins his 63rd semester teaching courses in media and culture at Baruch College (City University of New York).
September 2  CD Digital Release: “The Caverns at Carlsbad”: nine miniatures for trombone quartet composed by Eugene Marlow.
September 5 Dr. Eugene Marlow attends the annual awards ceremony of the MA Program in Arts Administration, Baruch College (City University of New York). At this event the annual Marlow Prize in Arts Administration is presented. The annual “consultancy paper” prize of $500 is funded by Dr. Marlow.  
September 11 Radio Play: Eugene Marlow begins his fourth semester hosting “Jazz: America’s Classical Music,” a one-hour weekly program on WBMB-FM (Baruch College Radio). Plays “Thelonius Monk Quartet with John Coltrane at Carnegie Hall” (Recorded in 1957).
September 12 Performance/Private Event: Eugene Marlow’s Heritage Ensemble provides music for an event in honor of Department of English (Baruch College, New York City) Professor Saundra Townes who passed away suddenly in spring 2019. Professor Townes loved jazz.
September 15 Performance: Multi-Grammy nominee Bobby Sanabria’s “Multiverse” Big Band performs Eugene Marlow’s bembe arrangement of “Maria” from the 2018 Grammy-nominated “West Side Story Reimagined” album as part of a full performance of the album at the Chicago-based Ravinia Festival. The performance took place at Chicago’s famed Martin Theatre.
September 25 Radio Play: Eugene Marlow hosts “Jazz: America’s Classical Music” on WBMB-FM Baruch College Radio. Plays “Journeys: The Cyrus Chestnut Trio” (2010).
October 5 Performance: Eugene Marlow’s Heritage Ensemble performs for the fifth year in a row for the Filomen M. D’Agostino Greenberg Music School currently located at the 92nd Street Y.
October 7 Performance: Eugene Marlow’s Heritage Ensemble (duo) performs for Music That Heals at the New York University Langone Medical Center, New York City.
October 16 Radio Play: Eugene Marlow hosts “Jazz: America’s Classical Music” on WBMB-FM Baruch College Radio. Plays “Jazz Variations: Dick Hyman” (Recorded in 1992).
October 24 Talk: The Departments of English and Journalism at Baruch College celebrate the collaboration between award-winning poet Dr. Grace Schulman (English) and eclectic award-winning author/musician/composer Dr. Eugene Marlow (Journalism) for their collaboration: “Blue In Green: Original Compositions by Eugene Marlow Inspired by the Jazz Poems of Grace Schulman” (MEII Enterprises 2018).
November 17 Performance: Eugene Marlow’s latinized arrangement of “Dreidel, dreidel, dreidel” is performed by Bobby Sanabria and Quarteto Ache at a Children’s concert, part of the James Moody Jazz Festival (sponsored by WBGO). Place: Ahavas Sholom, The Jewish Museum of New Jersey, 145 Broadway, Newark, NJ. FREE CONCERT.
November 29 CD Digital-Only Release: MEII Enterprises releases “Lotus Blossom: The Billy Strayhorn Project” featuring The Michael Hashim Quartet coincident with Strayhorn’s 104th birthday.
December 6 Radio Play: Bobby Sanabria, host of WBGO’s Friday night “The Latin Jazz Cruise,” spins Eugene Marlow’s original composition for big band “Broken Heart” from Sanabria’s Grammy-nominated “Multiverse” album (JazzHeads). WBGO is the most listened to jazz radio station in the world.
December 10 Performance: The NYU All University Jazz Orchestra conducted by Maestro Bobby Sanabria performs Eugene Marlow’s big band arrangement of “Dreidel, dreidel, dreidel.” Steinhardt Building Auditorium, West 4th Street, just off Broadway. 7 p.m. FREE ADMISSION.
December 10 CD Digital album release: Eugene Marlow’s indie label MEII Enterprises releases “Big Apple Bonkers,” flutist and composer Ammon Swinbank’s inaugural album: cdbaby.com/artist/ammonswinbank2.
December 12 Performance: Eugene Marlow’s Heritage Ensemble (duo) performs for the Baruch College Department of English Wassail.
December 12 Performance: Three of Eugene Marlow’s original compositions for solo piano–“Three in Three”–performed by Craig Ketter at Marc A. Scorca Hall, National Opera Center (New York City), as part of a concert of new music mounted by the New York Composers Circle. 7:30. $20 contribution suggested.
December 15 Performance: Eugene Marlow’s Heritage Ensemble performs at Temple Beth-El, Jersey City, New Jersey. 1 p.m.
December 23 Performance: Eugene Marlow’s Heritage Ensemble (duo) performs for Music That Heals at the New York University Langone Medical Center, New York City. 12:30-2:00 p.m.
2020
January 15 CD Album Release (digital only): Trio Bateira (flute, viola, double bass) releases its first album of original compositions by Eugene Marlow on the MEII Enterprises label.
January 27 Dr. Eugene Marlow begins his 64th semester teaching courses in media and culture at Baruch College (City University of New York).
February 5 Radio Play: Eugene Marlow begins his fifth semester hosting “Jazz: America’s Classical Music,” a one-hour weekly program on WBMB-FM (Baruch College Radio). 
March 11 Performance: Eugene Marlow’s Heritage Ensemble performs at Midday Jazz Midtown at St. Peter’s Lutheran Church (at Citicorp). 54th and Lexington Avenue. 1 p.m. $10 donation suggested. 
March 20 Single track CD release (digital only): “Mostly Strings I: Fleur de Neige,” Eugene Marlow’s first string quartet about a resilient flower that survives winter’s blast. Released on the occasion of the 2020 Spring Equinox. MEII Enterprises label.
April 27 Single track CD release (digital only): “Quirky,” an original composition by Eugene Marlow written for one of his twin sons, Samuel Josef. Performed by the American Modern Ensemble in concert at Skidmore College. MEII Enterprises label.
May 7 CD Release: On the occasion of Johannes Brahms’ 187th birthday, Pianist Nada releases her latest set of works for solo piano by the renowned composer. MEII Enterprises label.
June 2 Single track CD release (digital only): A big band recording of Eugene Marlow’s “The Griot’s Tale.” Dedicated to multi-Grammy nominee Bobby Sanabria. MEII Enterprises label.
June 11 CD Album Release (digital only): More Poems from Grace Schulman. Released coincidentally with the beginning of the 2020 HEARNOW Festival, Kansas City, MO
July 22 CD single track release (digital only): “In Their Own Voice, Vol. IX: In A Quiet Moment,” dedicated to multi-instrumentalist Mario Rivera who recorded on Eugene Marlow’s acclaimed “Wonderful Discovery” (2006) album. It was Rivera’s last recording session. MEII Enterprises label.
August 3 Talk: Dr. Eugene Marlow gives presentation on “Jazz and Poetry” at the Aspen Composers Conference, Aspen Institute, Aspen, Colorado.
August 15 Single track CD release (digital only): “There’s No Replacing a Man of Wisdom,” Eugene Marlow’s original composition for piano and cello, dedicated to Dr. Emanual Hammer, psychotherapist and friend, born August 15, 1926. MEII Enterprises label.
August 26 Dr. Eugene Marlow begins his 65th semester teaching courses in media and culture at Baruch College (City University of New York).
December 10 Performance: Eugene Marlow’s Heritage Ensemble (duo) performs for the Baruch College Department of English Wassail.

Please check back often as updates with new dates and more details
will be added to the schedule.

Click here to learn more about Eugene Marlow’s Heritage Ensemble

EMHE

Back to Top


Record of the Year: West Side Story Reimagined

Album of the Year: "West Side Story Reimagined" Bobby Sanabria Multiverse Big Band

Eugene Marlow’s bembé arrangement of
“Maria” kicks off the second CD
of the two-set album.

 

According to the JazzHeads label “Maria”
is one of the top 3 tracks streamed from this album.

 

Back to Top


Marlow’s “Jazz in China” Book Nominated for “Best Jazz Book” by the Jazz Journalists Association


BREAKING NEWS! April 15, 2019: Dr. Eugene Marlow’s book Jazz in China: From Dance Hall Music to Individual Freedom of Expression (University Press of Mississippi August 2018) has been nominated by the Jazz Journalists Association in the
“Best Jazz Book” category. Voting ends April 28.Jazz in China: From Dance Hall Music to Individual Freedom of Expression by Eugene Marlow, Ph.D.

January 2019: The New York City Jazz Record names Dr. Marlow’s Jazz in China book one of the “five best books on jazz in 2018.”

November 2018: Reviewer Kevin Canfield writes: “Jazz in China: From Dance Hall Music to Individual Freedom of Expression is a sweeping, informative work of history.” (New York City Jazz Record).

October 2018: Tom Cunniffe (Jazz History Online) calls the Jazz in China “a pioneering study.”

August 2018: University Press of Mississippi publishes Jazz in China: From Dance Hall Music to Individual Freedom of Expression.

Back to Top