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GRAMMYs

Kenny Wayne Shepherd

Photo: Marc Flores/Getty Images

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A Different Kind Of Music Festival

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From the Malibu Guitar Festival to the Claremont Clarinet Festival, instrument-centric festivals provide unique opportunities for established artists, up-and-coming instrumentalists and fans alike
Bruce Britt
GRAMMYs
May 5, 2016 - 3:31 pm

Play word association with the name "Malibu" and for many folks a posh Los Angeles suburb abounding with surfers, celebrity residents and palatial beachfront property springs to mind. But if seasoned TV producer/director Doug DeLuca has his way, Malibu will soon conjure yet another indelible image — that of a world-famous annual music festival.

In 2015 DeLuca launched the Malibu Guitar Festival, a four-day shindig styled after the trailblazing communal rock fests of the 1960s. On April 28–May 1 the festival's sophomore lineup featured, among others, GRAMMY-nominated blues guitarist Kenny Wayne Shepherd, GRAMMY nominee and acclaimed pedal steel guitarist Robert Randolph, GRAMMY-winning country music picker Albert Lee, former Paul McCartney & Wings guitarist Laurence Juber, and Orianthi, who has cut her teeth with the likes of Michael Jackson and Alice Cooper.

DeLuca's multigenre lineup cast a large net with a roster credible enough to draw hardcore guitar fans, yet wide-ranging enough to have family appeal. Last year he booked actor Kevin Costner and his band Modern West for the inaugural Malibu Guitar Festival. This year DeLuca tapped former "American Idol" judge Randy Jackson and teen pop singer Cody Simpson as performers.

"We're a mass-appeal music festival with a core of guitar," says DeLuca. "We're celebrating the guitar, but we're not shutting people out. The guitar seemed like it could be a great unifying force here in Malibu. It conjures up images of Monterey in the early days, where we activate every bar, every restaurant, every nook and cranny — jams breaking out everywhere, on the beaches, in the park. That's where the vision goes."

DeLuca's guitar-themed gala is part of a growing industry trend — festivals devoted to a specific musical instrument or discipline. Stringed instrument festivals run the gamut from symphonic string festivals such as Amsterdam's Cello Beinnale, the University of Tennessee School of Music Violin Festival and the Chicago Viola Festival to the Southern California Slack Key Guitar Festival showcasing native Hawaiian music.

But strings are just the proverbial tip of an ever-expanding iceberg. A plethora of specialized festivals spotlighting keyboards, brass, woodwinds, percussion, and more are springing up across the globe, many offering advanced workshops that attract world-class musicians seeking to further hone their skills. Taking place July 11–22, Poland's International Piano Festival, for example, will draw students worldwide with an immersive combination of performance and intensive study conducted in the homeland of piano virtuoso Frédéric Chopin.

Singapore's upcoming Flute Festival appeals to music lovers by focusing on six key elements: recital, competition, master class, seminar, production exhibition, and repair. The International Trombone Festival, held this year at New York's Juilliard School, will combine artist clinics, competitions, instrument manufacturer exhibitions, and even an improvisational trombone flash mob. Poland's Meinl Drum Festival is a one-day gala focusing on drums, featuring performances by drummers from across the globe, including Robert "Sput" Searight of GRAMMY winners Snarky Puppy, who participated in the 2015 installment. The list of niche instrument festivals just keeps growing.

Shepherd, who headlined this year's Malibu Guitar Festival, believes themed festivals can be a boon for instrumentalists. The son of a Louisiana radio executive, Shepherd learned the beauty of instrumental expression from listening to recordings by guitar masters such as Albert King, B.B. King and Stevie Ray Vaughan.

"To be able to communicate emotion without words is an incredibly powerful thing, and that's what all [instrumentalists] do," says Shepherd.

With a career now spanning more than 20 years, Shepherd has been part of many guitar-oriented festivals, most notably the traveling six-string extravaganza G3, which was founded by GRAMMY-nominated rock guitarist Joe Satriani in 1996.

"With these festivals, every little bit helps as far as raising awareness of guitar, guitar players, blues music, and music that's real," Shepherd says.

For festival directors, piecing together a successful event can involve approximately a year of planning — a considerable amount of time for events that often last a mere week, or an extended weekend. Some directors invite input from musicians and fans and then use the resulting feedback to construct a well-tempered combination of education, performance and events. In addition to their goal of creating a festival with across-the-board appeal, directors often welcome the paying public to attend master classes, where world-famous instructors serve up musical knowledge along with inspiring philosophical insights gleaned from a lifelong pursuit of virtuosic excellence.

Master cellist Ralph Kirshbaum is artistic director for the renowned Piatigorsky International Cello Festival presented by the University of Southern California Thorton School of Music. He inadvertently helped launch the instrument festival craze in 1988 when he founded the now-defunct Manchester International Cello Festival, a British event that had become a major stopping point for cellists around the world. Due to his reputation as an instrument festival pioneer, Kirshbaum says he has been tapped as an unofficial consultant to cello festivals worldwide. Over the years he's learned a lot about festivals, and how to optimize them for participants. 

"In terms of programmatic ideas, there's so many ideas that can go into a festival," says Kirshbaum. "I think it's important to link teachers and pupils. Truls Mørk is a famous Norwegian musician, and one of the world's top cellists. He was the student of Frans Helmerson, so I had them paired in a recital. Seeing that development and being inspired by those examples, you learn something about life. You learn about how you deal with another human being, how you respect their position and help them forward, as opposed to being demeaning or condescending."

Kirshbaum believes that building a successful instrument festival requires good instincts, fan input and plain common sense. He says the best festivals not only attempt to book reputed masters, but also demonstrate vision by identifying and showcasing up-and-coming talent.

"The festival can highlight that there are a greater number of outstanding exponents of the instrument," he says.

Just as Kirshbaum's festivals helped elevate the status of the cello, Margaret Thornhill hopes her instrument-centric festival brings the clarinet out of the shadows and into solo renown. Her Claremont Clarinet Festival, an advanced, audition-based program, will be held at Pomona College in suburban Los Angeles on June 12–18.

"Many workshops are basically a teaching situation that doesn't lead to the participants doing any kind of public performance," says Thornhill, who is a Concordia University adjunct professor. "At our festival, all the performances are all done by workshop participants. This is intended to build confidence and self-awareness, empowering [participants] to feel that their performances are quality experiences, as well as connect with the audience."

Thornhill created the festival in 2006 after noting the lack of opportunities for young and semiprofessional clarinetists.

"There really wasn't anything west of the Rockies that concentrated on clarinet," she said. "Since 2006, there have been a number of workshops, but ours has this double thrust of being both a workshop for performing participants, with an additional focus on participant's performance in public concerts at the end of the week, which are open to the entire community."

Thornhill has noted an annual increase in festival participants since the inaugural event. She reports fielding applications from players as far away as Spain, Peru and Africa.

Gwen Tuft Hutchings attests to the efficacy of Thornhill's festival curriculum. A performer with a clarinet choir in Medford, Ore., Hutchings holds a master's degree from the San Francisco Conservatory of Music. A two-time participant at the Claremont Clarinet Festival, her enthusiastic testimony underscores just how life-changing an intensive and well-organized instrument festival can be.

"The highlight for me was getting the one-on-one coaching from [Thornhill]," says Hutchings. "She found some things that I'd been doing incorrectly all my life and I made very quick progress because of the intense focus of study. Since doing Claremont, I've soloed with two different bands and an orchestra. It really helps you build the confidence to go out there."

(Bruce Britt is an award-winning freelance writer whose work has appeared in The Washington Post, USA Today, Detroit Free Press, San Francisco Chronicle, and other distinguished publications. He lives in Los Angeles.)

GRAMMYs

Bonnaroo 2018

Photo by Douglas Mason/Getty Images

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Bonnaroo 2020 Postponed Due To Coronavirus Concern bonnaroo-2020-postponed-due-coronavirus-concerns

Bonnaroo 2020 Postponed Due To Coronavirus Concerns

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The Farm-set event, originally scheduled for June 11-14, has been postponed to Sept. 24-27
Rachel Brodsky
GRAMMYs
Mar 18, 2020 - 11:20 am

Bonnaroo 2020 has been rescheduled for Sept. 24-27 due to ongoing concerns around the coronavirus pandemic. 

Organizers announced today (March 18) over Twitter that the festival, which was scheduled to take place on The Farm between June 11-14 with Lizzo, Tool and Tame Impala as headliners, would be rescheduled.

The event was also set to feature major performances from Miley Cyrus, bass legend BASSNECTAR, recently reunited rock supergroup Oysterhead (consisting of Les Claypool of Primus, Trey Anastasio of Phish and Stewart Copeland of The Police), Primus and GRAMMY-winning St. Louis rap icon Nelly, who was to perform his GRAMMY-nominated debut 2000 album, Country Grammar, in full.

Bonnaroo will be rescheduled to Sept 24-27, 2020. Updates to come. Can’t wait to see you on The Farm! Visit https://t.co/L0pxsjUS50 for more info. pic.twitter.com/FhWUXnwOH9

— Bonnaroo (@Bonnaroo) March 18, 2020

In a statement to Billboard, organizers said that the decision came "out of an abundance of caution and for the health and safety of all Bonnaroovians, artists, staff and our community."

Tickets and onsite accommodations (camping, tent rentals, RV, etc.) will be honored for the rescheduled weekend, while fans with off-site accommodations and shuttles purchased through the festival will be contacted directly with updates.

"Rest assured, we will share updates as quickly as possible via email, our website, and on our social accounts," organizers said in a statement. "Please continue to radiate positivity through this uncharted time in our world. Thank you for your continued support and we look forward to seeing you on The Farm this fall."

Recording Academy And MusiCares Establish COVID-19 Relief Fund

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Donna Missal at SXSW 2019

Photo: Lorne Thomson/Redferns/Getty Images

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Report: How To Increase Music's Value In Your City report-how-music-creates-jobs-drives-tourism-improves-wellness-more

Report: How Music Creates Jobs, Drives Tourism, Improves Wellness & More

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Recording Academy partner Sound Diplomacy unleashes "a set of tools, case studies and lessons to increase the value of music in your city"
Nate Hertweck
GRAMMYs
Mar 14, 2019 - 10:43 am

For anyone working in the music world, Austin, Texas is the place to be in mid-March each year. South By Southwest brings together the industry's brightest minds, biggest players and sharpest talents to explore the business and craft of music. Attendees network, listen and soak up wisdom to bring home and implement in their own music communities, wherever they may be. For over three decades, this ritual has helped music professionals tackle the challenges of building and sustaining music in their city.

Who does your music policy impact? Who is responsible for music policy in a city? Find out answers to these burning questions & more in The Music Cities Manual, available now at https://t.co/xNc2Feje4r pic.twitter.com/yLeU32Bf3I

— Sound Diplomacy (@SoundDiplomacy) March 14, 2019

In the spirit of this connectivity of resources, and to coincide with this year's SXSW, international strategic consultants Sound Diplomacy released a special report titled "The Music Cities Manual: How Music Increases Economic, Social And Cultural Growth In Your City." The extensive report details the what, why and how of supporting music locally through everything from city policy to education and communication and beyond, providing a fresh and tangible idea bank for music people in cities and towns of all sizes to spur and sustain growth.

As partners of the Recording Academy, Sound Diplomacy shares the mission of supporting music by thinking big but starting small and understanding the power of local music markets have to lift up the industry at large. The Academy's 12 Chapters serve music communities nationwide based on the core philosophy that when local music economies innovate and thrive, the entire community benefits. Many of the principles in Sound Diplomacy's report speak directly to the work the Academy does each day to keep music strong across a diverse array of local marketplaces.

Inside The Music Cities Manual

"The Music Cities Manual" describes itself as "a set of tools, case studies and lessons to increase the value of music in your city," i.e., a report for everyone involved in the music process from musicians to developers, city government to bar owners and festivals to hoteliers. The report also showcases music's uncanny ability to create jobs, drive tourism, enhance social inclusion and even improve wellness. However, as the report points out, "few cities understand how to plan, manage and develop music for economic, social and cultural gain." 

In other words, how can cities best optimize the power of music to benefit their local economy? 

"Music pumps from speakers in shopping malls and metro stations, hospitals and car parks. From choirs in churches to the call to prayer, from the boardrooms of our multinational record labels to the basement of a pub, music fosters creativity, dialogue, creates commerce and incubates talent."

Music As Infrastructure

In order to solve a problem, we must first understand it. Sound Diplomacy's method outlines 13 key indicators of a thriving music policy, centering around the idea that music is infrastructure. This means city governance declaring, through official communication, music's importance to its community. Let's look to the Midwest: The report cites Chicago's 2007 Chicago Music Policy as one of the first to send this message to not only its own local community, but to people everywhere about the importance of music's role in Chicago.

The report's 13 key indicators are chock-full of resources for action items such as creating a coalition, asset mapping, sparking tourism, supporting venues, encouraging entrepreneurs, expanding music education, and prioritizing affordability. All of these measures speak to a connectivity between creatives, policymakers and business owners that can grow a city's music community in a healthy and lasting way.

Cities As Agents Of Change

Sound Diplomacy also presents several case studies, taking a closer look at Melbourne, Australia's "Agent Of Change" principle, which set new obligations on property developers to adequately soundproof buildings within 50 feet of an existing venue, London's Music Venue Trust task force, which provided an outline for the city's grassroots venues to thrive, and New York City's repeal of its outdated Cabaret Law, making the Big Apple much for more friendlier for live music and entertainment. These real-world cases provide easily relatable change examples, and considering the sheer size of the cities referenced, the notion of making an impact in smaller music communities seems far less daunting.

Our #NewYork Chapter celebrated the 61st #GRAMMYs nominees, including producers, songwriters, and engineers earlier this week.

Find out who takes home GRAMMY gold on Feb. 10! pic.twitter.com/3XnYTnFYLn

— Recording Academy / GRAMMYs (@RecordingAcad) January 31, 2019

Creating Inter-City Music Networks

In fact, the report goes another step to show how connection between music cities can benefit local markets on a global scale, examining Music Cities Network, a resource for improving communication and cooperation between music communities around the world. This is just one tool the report offers toward its encouragement to "be international," by starting, "With your sister cities and existing partnerships in other municipal departments, from tourism to economic development."

This top-down and bottom-up approach provides everyone who touches or is affected by music with steps to take toward a stronger community. And the best news is the benefits of a healthy music city go beyond cultural, social and even economic areas. Music's ability to improve health and wellbeing means, as the report states, "Better, happier, more efficient people, from birth to death."

As thousands descend upon Austin and SXSW 2019 kicks off its Music Conference, the Sound Diplomacy report provides the framework to implement new ideas across the musical landscape in any town, making the adage of "think globally, act locally" more than a bumper sticker.

Likewise, the Recording Academy continues its work on behalf of music creators across many tiers of the industry, from local events to educate and connect members to game-changing Advocacy work on Capitol Hill. Through these tireless efforts, and projects such as working with Sound Diplomacy in its Chapter cities, the Academy continues to support and foster a better tomorrow for music.

Recording Academy Task Force On Diversity And Inclusion Announces Initiative To Expand Opportunities For Female Producers And Engineers

GRAMMYs

Esperanza Spalding

Photo: Dr. Billy Ingram/WireImage.com

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Prelude To Music's Biggest Night

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Esperanza Spalding and Bobby McFerrin to co-host GRAMMY Pre-Telecast, featuring performances by Buddy Guy, Cyndi Lauper and Mavis Staples, among others
Tim McPhate
GRAMMYs
Dec 2, 2014 - 4:06 pm

(For a list of 53rd GRAMMY Awards nominees, click here.)

The 53rd Annual GRAMMY Awards Pre-Telecast Ceremony will take place on Sunday, Feb. 13 from 1–4 p.m. PT at the Los Angeles Convention Center and will be streamed live internationally on www.grammy.com/live and www.youtube.com/thegrammys beginning at 1 p.m. PT. The live stream of the Pre-Telecast will remain on GRAMMY.com as video on demand for 30 days following the event.

Well-attended by nominees and industry VIPs, the star-studded ceremony with be co-hosted by current GRAMMY nominees Bobby McFerrin and Esperanza Spalding, and will feature performances by nominees including Afro-Colombian hip-hop trio ChocQuibTown, blues musician Buddy Guy, singer/songwriter Cyndi Lauper, American roots interpreter Maria Muldaur, contemporary blues artist Kenny Wayne Shepherd, trombone and trumpet player Trombone Shorty, legendary gospel singer Mavis Staples, jazz musician Kirk Whalum, and R&B singer/songwriter Betty Wright. Presenting the first GRAMMY Awards of the night in 98 categories will be current nominees Laurie Anderson, Sara Bareilles, BT, Kathy Griffin, and Wayne Wallace.

Co-hosts McFerrin and Spalding each have one nomination: McFerrin for Best Classical Crossover Album for Vocabularies, and Spalding for Best New Artist.

Performers ChocQuibTown, Guy, Lauper, Muldaur, Shepherd, Staples, Trombone Shorty, and Wright each have one nod: ChocQuibTown for Best Latin Rock, Alternative Or Urban Album for Oro; Guy for Best Contemporary Blues Album for Living Proof; Lauper for Best Traditional Blues Album for Memphis Blues; Muldaur for Best Traditional Folk Album for Maria Muldaur & Her Garden Of Joy; Shepherd for Best Contemporary Blues Album for Live! In Chicago (Kenny Wayne Shepherd Band Featuring Hubert Sumlin, Wille "Big Eyes" Smith, Bryan Lee, and Buddy Flett); Staples for Best Americana Album for You Are Not Alone; Trombone Shorty for Best Contemporary Jazz Album for Backatown; and Wright for Best Traditional R&B Vocal Performance for "Go (Live)."

Whalum has three nominations: Best Pop Instrumental Album for Everything Is Everything: The Music Of Donny Hathaway; Best Gospel Performance for "He's Been Just That Good" (with Lalah Hathaway) and Best Gospel Song for "It's What I Do" (with Jerry Peters).

Presenters Anderson, Bareilles, BT, Griffin, and Wallace each have one nomination: Anderson for Best Pop Instrumental Performance for "Flow"; Bareilles for Best Female Pop Vocal Performance for "King Of Anything"; BT for Best Electronic/Dance Album for These Hopeful Machines; Griffin for Best Comedy Album for Kathy Griffin Does The Bible Belt; and Wallace for Best Latin Jazz Album for ¡Bien Bien! (Wayne Wallace Latin Jazz Quintet).

Following the Pre-Telecast Ceremony, the 53rd Annual GRAMMY Awards will be broadcast live on the CBS Television Network from 8–11:30 p.m. ET/PT. For GRAMMY coverage, updates and breaking news, please visit The Recording Academy's social networks on Facebook and Twitter.
 

GRAMMYs

Taylor Swift

Photo: Rick Diamond/WireImage.com

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Bigger Than The GRAMMYs?

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Pre-Telecast Ceremony will present nearly 100 GRAMMY categories, many more than the telecast
Roy Trakin
GRAMMYs
Dec 2, 2014 - 4:06 pm

(For a complete list of 53rd GRAMMY Awards nominees, click here.)

To paraphrase John Lennon, is the GRAMMY Pre-Telecast Ceremony bigger than the GRAMMY Telecast? Okay, nothing tops the excitement and sheer event status of Music's Biggest Night, but when it comes to award presentations, the Pre-Telecast leads by about 90.

Last year, awards in 99 GRAMMY categories were presented during the Pre-Telecast, which, in its second year of being streamed live online, attracted 328,000 viewers to the ceremony.

Those who tuned in saw Neil Young accept his first-ever GRAMMY in person, for Best Boxed Or Special Limited Edition Package, as well as Taylor Swift, who won her first two GRAMMYs ever. In the past, the likes of Norah Jones and Carrie Underwood received their first GRAMMYs on the Pre-Telecast, too.

The Recording Academy's Vice President of Awards Bill Freimuth helps oversee the Pre-Telecast, which gets underway on GRAMMY Sunday, Feb. 13, at 1 p.m. PT/4 p.m. ET, and lasts approximately three hours, "depending on how many winners are there, and how long they speak."

Current Best Classical Crossover Album nominee Bobby McFerrin and Best New Artist candidate Esperanza Spalding will co-host the ceremony, which can be viewed at Twitter as well as YouTube, this year's streaming partner, live from the Los Angeles Convention Center.

"In my everyday life, I'm very fortunate to work in so many musical worlds," enthused McFerrin. "Co-hosting the Pre-Telecast with Esperanza is an opportunity to hear and to honor some of the greatest artists from those worlds….And besides, it's gonna be really fun."

The youthful 26-year-old Spalding, a jazz bassist and singer, who has already performed for the likes of President Barack Obama, views co-hosting the Pre-Telecast as a bit of a feather in her young cap. "It's an honor to be asked to co-host the GRAMMYs' Pre-Telecast," she said with alluring humility.

Peter Anton, The Recording Academy's Vice President of Digital Media, who has helped spearhead the live stream of the Pre-Telecast as well as the development of GRAMMY Live, a 72-hour live webcast that complements the GRAMMY Awards TV broadcast, expects the total number of online viewers to exceed 500,000 this year, thanks in part to YouTube's participation.

This year's production will be shot with three cameras, featuring musical performances from a number of this year's nominees, including Afro-Colombian hip-hop trio ChocQuibTown, Buddy Guy, Cyndi Lauper, Maria Muldaur, blues guitarist Kenny Wayne Shepherd, "Treme" star Trombone Shorty, gospel legend Mavis Staples, jazz musician Kirk Whalum, and R&B singer/songwriter/producer Betty Wright. Presenting some 98 GRAMMY categories will be current nominees Laurie Anderson, Sara Bareilles, BT, Kathy Griffin, and Wayne Wallace.

"We try to showcase genres that aren't usually covered on the regular telecast," explains Freimuth.

The live audience of 3,500 will include many of this year's 1,052 nominees. Freimuth calls the webcast "a live show that we're letting people see on the Web." And while some parts of the show are loosely scripted, McFerrin and Spalding are encouraged to have fun.

"We don't hire Bruce Vilanch, if that's what you mean," laughs Freimuth, "though we could probably use a good comedy writer."

The 53rd Annual GRAMMY Awards will take place live on Sunday, Feb. 13 at Staples Center in Los Angeles and will be broadcast in high definition and 5.1 surround sound on the CBS Television Network from 8–11:30 p.m. (ET/PT). The Pre-Telecast stream will live at GRAMMY Live and on YouTube beginning at 1 p.m. The webcast will be archived as video on demand at GRAMMY Live for 30 days after the event.
 

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.