Archive for April, 2010

NCCU Board of Trustees Meeting

Monday, April 26th, 2010

The NCCU Board of Trustees is scheduled to meet on Tuesday in the Chancellor’s Dining Room of the Pearson Cafeteria and Wednesday in the Emma Marable Conference Room of the William Jones Building, Room 110. The agenda is attached and below.

Tuesday, April 27, 2010

8:30 a.m. – 9:00 a.m. Continental Breakfast
Chancellor’s Dining Room, Pearson Cafeteria

9:00 a.m. – 10:00 a.m. Policy Discussion
North Carolina Central University Strategic Plans
Chancellor Nelms and Johnnie Southerland


10:00 a.m. – 10:30 a.m. Finance Committee
Perry*, Ruffin, Adams, Pope, Wysenski
Chancellor’s Dining Room, Pearson Cafeteria

10:30 a.m. – 11:00 a.m. Board of Trustees of the Endowment Fund
Adams*, Epps, Baron, Dolan, Hamilton, Johnson, Thornton, Nelms
Chancellor’s Dining Room, Pearson Cafeteria

11:00 a.m. – 12:00 p.m. Personnel Committee
Hamilton*, Baron, Adams, Dolan, Epps, Thomas
Chancellor’s Dining Room, Pearson Cafeteria

12:00 p.m. – 1:30 p.m. LUNCH (Trustees and Vice Chancellors only)
Culinary Laboratory, Pearson Cafeteria

1:30 p.m. – 2:00 p.m. Audit Committee
Michaux*, Wysenski, Epps, Hamilton, Pope
Chancellor’s Dining Room, Pearson Cafeteria

2:00 p.m. – 3:00 p.m. Educational Planning and Academic Affairs Committee
Dolan*, Pope, Johnson, Perry, Thornton, Thomas
Chancellor’s Dining Room, Pearson Cafeteria

3:00 p.m. – 3:30 p.m. Institutional Advancement
Ruffin*, Hamilton, Epps, Michaux, Thornton, Wysenski
Chancellor’s Dining Room, Pearson Cafeteria

3:30 p.m. – 4:00 p.m. Building Committee
Baron*, Dolan, Michaux, Perry, Pope, Ruffin
Chancellor’s Dining Room, Pearson Cafeteria

4:15 p.m. – 5:00 p.m. Trustee-Student Relations Committee
Thomas*, Johnson, Michaux, Ruffin, Thornton, Wysenski
Chancellor’s Dining Room, Pearson Cafeteria

Wednesday, April 28, 2010

9:00 a.m. Board of Trustees Meeting
Emma Marable Conference Room
Room 110, William Jones Building

11:30 a.m. LUNCH
Emma Marable Conference Room
Room 110, William Jones Building


Inside NCCU Returns to Radio

Saturday, April 24th, 2010

North Carolina Central University is pleased to announce the return of Inside NCCU to WNCU 90.7 FM after a six-month hiatus. The program will air on Saturday mornings at 9 a.m. starting May 1. With special guests from the NCCU community, it will offer lively conversations with real people, and will entertain and inform listeners on the happenings of this bustling campus.

“We’re committed to keeping the public apprised of the news and events at Durham’s only public university,” said Cynthia Fobert, NCCU director of public relations. “Many of our lectures, exhibits, and concerts are free and open to the community and we want to make sure our listeners know they’re welcome on our campus.”

“We are delighted that the show can air again during the 100th anniversary of the institution,” said WNCU general manager Lackisha Sykes Freeman. “We hope this show will spotlight the good work that NCCU does.”

The show will feature the voice of new Eagle Myra Wooten as host. She is a public communications specialist in the Office of Public Relations. “There are great things happening at NCCU, and this program gives us the platform to showcase that,” Wooten said. “I am thrilled that I get to bring this information to our community.”

Inside NCCU is a weekly 30-minute program. Listeners can also hear it online at To contribute show ideas or to be a guest on the program, contact the Office of Public Relations at 530-7219 or [email protected].

WNCU 90.7 FM to Hold a Town Hall Meeting to Speak with Candidates in Durham County School Board Election

Wednesday, April 21st, 2010

As part of an ongoing initiative to serve our listeners in the public interest, WNCU 90.7 FM invites you to listen to and participate in a community-based program to meet with candidates running to fill seats on the Durham County School Board.

WNCU 90.7 FM will air a live town hall meeting in the auditorium of the H. M. Mickey Michaux School of Education on the campus of North Carolina Central University on Saturday May 1, 2010 from 9:30 a.m. until 11:00 a.m. This event is free and open to the public. Meeting attendees will have an opportunity to ask questions of the candidates during the meeting. The program will also stream live.

Felipa “Graciela” Pérez has Passed

Wednesday, April 7th, 2010

Felipa “Graciela” Pérez Gutiérrez, the legendary “First Lady of Afro-Cuban Jazz”, has passed at the age of 94 at New York Cornell-Presbyterian Hospital in New York City at 7:58 am, Wednesday, April 07, 2010.

A pioneer in music, as a black Cuban woman, in a `so-called man’s world’ she opened doors for all those who followed her. She performed around the world, recording and sharing the stage with her foster brother Machito (Frank Grillo) and brother-in-law, Mario Bauzá (originator of the genre Afro-Cuban Jazz) in the world renowned orchestra “Machito and the Afro-Cubans.” Some of her biggest hits include “Ay, José”, “Si, Si, No, No”, “Noche de Ronda”, and “Novio Mio” among many others. Her storied career lasted 77 years long. She died of renal and pulmonary failure with her dear friend and slave Mappy Torres by her side. Her `big’ heart never gave out.

Graciela was primarily known for her tremendous voice, risqué and sassy stage presence and sexy double entendre lyrics. She sang `jazzy’ guarachas as easily as handling the most romantic of boleros which she could deconstruct like no other. She could sing it all, not just one style or fashion like other singers, as many critics and musicologists have mentioned. Graciela’s versatility and virtuosity were un- matched. Though her last name was Pérez-Gutierrez, she was only known by her one name moniker before it was fashionable to do so in more modern times.

Born in Havana ,Cuba in August 23, 1915, she was christened a “singer” at age five by the trova singer/composer María Teresa Vera and taught to sing by her older foster brother Machito. Graciela commenced her career at 17 with the most popular of female orchestras “Anacaona” which was comprised of 10 sisters from the Castro family back in 1933. She traveled to New York, Paris, Latin America and the Caribbean with them for 10 years. They made their recording debut with the RCA/Victor label which traveled to Cuba to record several 78 records with them between 1936 and 1937.

She was summoned to New York in 1943 by Mario Bauzá, when Machito was drafted into the army. She joined the orchestra as lead singer until Machito returned in 1944 and from then on the three shared the stage together until their untimely split in 1975. For 32 years they were on top of the charts and were the orchestra not only to beat, but to emulate. Not only did they travel the USA and the rest of the world, but they were leaders and reigned supreme during the heyday of the Palladium (where blacks, whites, Jews, Italians and Latinos, and celebrities would converge to dance), from 1946 until it’s closing. Besides the Palladium, they would perform at the Royal Roost, Birdland, the Park Palace, the Corso and the Apollo Theater on a yearly week-long gig –and many other clubs and theatres in New York.

Graciela and the orchestra also performed on a yearly basis in Hollywood– specifically at the Crescendo nightclub. Graciela and the band were also a favorite of the famous dee-jay `Symphony Sid’ who had them on his weekly program several times a year, and was broadcast coast to coast in the `1940’s and 50’s. They were also the summer headliners in the Catskill resort hotel, the Concord, for more than 20 years. They recorded milestone albums, for several labels throughout the years, including three of her solo releases “Esta es Graciela”, “Intimo y Sentimental”, “Esa Soy Yo, Yo Soy Así”, plus others.

Respected and highly sought after by producers, composers and arrangers for her versatility, phrasing, and emotive delivery she was a favorite of Chico O’Farrill, Arsenio Rodríguez, José Antonio Mendez, Agustin Lara, Rafael Solano, René Hernandez, Cesar Portillo de la Luz and Mario Bauzá himself.

In the 1980’s and early 90’s Graciela was an integral part of Mario Bauzá’s comeback and recorded several albums with him including his last three Grammy nominated albums for Messidor records. Upon Mario’s death in 1993, Graciela unofficially `retired’ but had been coaxed back to the recording studio or the stage on special occasions, including with trombonist Steve Turre on a fabulous rendition of “Ayer lo ví Llorar”, “Oye Mi Rumba” on Chico O’Farrill’s last CD and also dueted with percussionist Cándido Camero on the Grammy and Latin Grammy nominated CD “Inovidable”. Her stage appearances, in recent years, have been primarily in the tri-state area.
The last few years for Graciela has had a wave of long time well deserved accolades from such organizations such as The International Latin Music Hall of Fame (1999, 2001), Latin Grammy Lifetime Achievement Award (2007) and a slew of other honors and accolades from different organizations. Plus the United States government recognized her service in entertaining the troops during World War II.

Most recently Graciela’s 93rd birthday was celebrated in Lincoln Center’s Out of Doors festival along with the Caribbean Cultural Center where over ten thousand people jammed Damorsch Park to wish her well. Graciela performed five tunes for them to standing ovations. Needless to say she was overjoyed with the love that the public displayed for her. Since then she had been in the midst of recording a CD, writing her memoirs and filming a documentary on her groundbreaking, legendary life and career which spanned 77 years. Up until the end she was always a trooper, strong willed forceful and full of life.

Graciela was under excellent care at New York-Presbyterian Hospital Weill Cornell Medical Center. In her final months, she was attended to by the Cardiac Catheterization team of Dr. Bergman, Dr. Wong, and staff for a specialized experimental valve procedure of the heart which was a great success. Unfortunately, while in physical rehabilitation, her other organs deteriorated. But her heart never gave out. Graciela wanted to thank them by doing a benefit concert for the Partners Trial of which she was a part of at New York-Presbyterian Hospital Weill Cornell Medical Center, the entire Cardiac Care team, and all those that work in 4 North, 4 South and 10 North along with dear friend Dr. Emilio Carrillo, vice-president Community Health Development at the hospital and Dr. Erica Jones, cardiologist and director of the Inpatient Telemetry Unit.

Graciela’s wishes were to be cremated and to celebrate her life and not mourn her death. Details of her life’s celebration will be released in the coming days. Dissemination of her ashes will be held in private. Graciela leaves behind no immediate family and is survived by only her dear friends and fans.

Graciela’s extraordinary career was also shared with such friends as Billie Holiday, Sarah Vaughn, Ella Fitzgerald, Miguelito Valdéz, Frank Sinatra, Sammy Davis Jr., Bing Crosby, Nat King Cole, Benny Carter and many others. Though never married and not having children of her own she never lacked love in her life and she had many great romances. She was in deed very special woman.

NPR Jazz Notes

Monday, April 5th, 2010

50 Great Voices

Ella Fitzgerald: First Lady Of Song

In the 1930s and ’40s, band singers were mostly blond, sophisticated and attractive. Ella Fitzgerald was awkward, gawky and even a bit chubby by comparison — in the words of one newspaper writer, “a big, light-colored gal.” But could she sing.

And could she ever: Susan Stamberg’s profile of the great vocalist is this week’s entry in NPR’s 50 Great Voices series. Also, don’t miss a video of Hiromi at NPR, a solo performance by guitarist Martin Taylor and the Michael Wolff trio with — there he is again — Steve Wilson on sax. Enjoy.

—Patrick Jarenwattananon, NPR Music

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Studio Sessions

Hiromi: A Melodic (And Headbanging) Travelogue

Her new album, Place To Be, was conceived as a journal in sound. In a solo performance at NPR headquarters, the energetic jazz pianist shows how she translates street scenes to melodies, with her typical effervescence.

Favorite Sessions

Martin Taylor: Solo Jazz Guitar

Not only is Martin Taylor widely acclaimed as one of the finest solo acoustic jazz guitarists alive, he’s always great company. In a session from Jazz24, Taylor performs “Stompin’ at the Savoy” and talks about teaching guitar online.

JazzSet with Dee Dee Bridgewater

Michael Wolff Trio With Steve Wilson On JazzSet

Michael Wolff says he approaches the piano like a saxophone, to combine his “physical impulsiveness [to put] a certain energy into the musical ideas.” Highlighting this Washington, D.C. set, is “Joe’s Strut,” for Wolff’s friend Joe Zawinul.

Marian McPartland’s Piano Jazz

Bucky Pizzarelli On Piano Jazz

The guitarist is known for playing the great songs of the ’30s on his seven-string instrument. As part of the 30th Anniversary celebration, Bucky Pizzarelli returns to Piano Jazz with guest host John Pizzarelli, his son and fellow guitarist.

April 2010 WNCU eNewsletter

Thursday, April 1st, 2010


NCCU Centennial Gala

Thursday, April 1st, 2010

The Centennial Gala and the Inaugural Conferring of The Shepard Medallion featuring Branford Marsalis and the NCCU Jazz Ensemble will take place on Saturday, May 22,2010, at 6 p.m., Durham Performing Arts Center.

Additional details coming soon…

Bobby Broom

Thursday, April 1st, 2010

Bobby Broom was born in Harlem on January 18, 1961, and raised on Manhattan’s Upper West Side. His birth name is Robert Broom, Jr. He is an American jazz guitarist, composer and educator.

Broom was playing onstage at the Billie Holiday Theatre with a group of teenage musicians in Young, Gifted, and Broke, a musical by Weldon Irvine (lyricist of the classic To Be Young, Gifted, and Black), when he was approached by Aurell Ray. Although Ray was Rollins’ guitar player at the time, he recommended Broom to the saxophonist and arranged for him to participate in a rehearsal with Rollins, bassist Bob Cranshaw, and drummer Eddie Moore.

Following the rehearsal, Rollins offered to take Broom on tour with the band. Broom declined the offer, explaining that he was still a senior in high school. “I’ll call you when I come back to New York,” Broom remembers Rollins telling him. The saxophonist did, and Broom found himself playing a one-night concert at Carnegie Hall in 1977 with Rollins, Cranshaw, Moore, Ray, pianist Mike Nock, and trumpeter Donald Byrd. Rollins called again in 1981 and took Broom on the road for six years. He rejoined Rollins in 2005 and remains a member of his group. He can be heard on the Rollins albums No Problem (Milestone, 1981), Reel Life (Milestone, 1983), Sonny, Please (Doxy, 2006), and Road Shows, vol. 1 (Doxy, 2008), plus the 2008 Doxy DVD release Sonny Rollins in Vienne.

Broom almost was the first and only guitar player ever to become a member of Art Blakey and the Jazz Messengers. He and trumpeter Wynton Marsalis had been sitting in with the drummer’s band at Mikell’s on 97th Street in New York City. Blakey asked both teenagers to join his group. Marsalis accepted. Broom passed. “I wasn’t really aware of the potential significance of my playing with Blakey,” Broom admits.

Music education also has been a constant for Broom, who earned a B.A. in music from Columbia College and an M.A. in jazz pedagogy from Northwestern University. He has taught at the University of Hartford, the American Conservatory of Music, Roosevelt University, and DePaul University. For the past decade, he has instructed music students in public high schools throughout Chicago as part of a jazz mentoring program sponsored by the Ravinia Festival Organization. One of his students from the program is now attending Juilliard. Broom, who says he “has a reputation for being strict about fundamentals,” is a sought-after private instructor.

Playing with Dr. John and then with Chris Foreman in the Deep Blue Organ Trio put Broom back in touch with the blues roots of jazz that he feels he had neglected early in his career. “I kind of dismissed the blues after I became a ‘jazz student,’ thinking that it was somehow beneath jazz intellectually,”he says. “I know now that the intellect can operate within different formats and that the vocabulary of the blues is as rich and deep as a person is willing to make it. To play fluently and authentically in either style, the blues or jazz, one has to devote a precious lifetime.

“Delving into Thelonious Monk also has been a way to connect with my musical heritage,” says Broom. With Bobby Broom Plays for Monk, he, Dennis Carroll, and Kobie Watkins make that connection, providing fresh insights into Monk’s music while capturing its timeless spirit.