{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/6h4cn7063g/manifest","type":"Manifest","label":{"en":["Wynton Marsalis: Jazz Trumpeter, 1986-03-02"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/5230"]}},{"label":{"en":["Date"]},"value":{"en":["1986-03-02 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["On tape label: City Line #174 (Container Summary)","Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Jaki Hall and B.T. Bentley interview Wynton Marsalis about his career and success. Tea Montier interviews Joyce Knox, the Chicken George Restaurants President. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-005-005 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["On tape label: City Line #174","Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Jaki Hall and B.T. Bentley interview Wynton Marsalis about his career and success. Tea Montier interviews Joyce Knox, the Chicken George Restaurants President."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/255/small/thumbnail_206255_1692228386.jpg?1692228391","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230816-805753-tgx7oj.mp4"]},"duration":3596.369,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/255/small/thumbnail_206255_1692228386.jpg?1692228391","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/206/255/original/open-uri20230816-805753-tgx7oj.mp4?1692227468","type":"Video","format":"video/mp4","duration":3596.369,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-005-005.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's 12 noon. We're live on City Line. Hi, I'm Jackie Hall. And I'm Betty Bentley. Just this past Tuesday night, City Lines gets one two Grammy Awards, but they aren't the first four Wynton Marsalis winning Grammys and both jazz and classical categories. This 23 year old trumpeter has been called the most remarkable musician to arrive on the music scene in and time. Going against the tide. Wynton Marsalis has returned to the traditions of modern jazz. That's what makes him a key figure of the eighties. Today, City Line will meet this man and talk about his music. What impact will bankruptcy have on the future of Chicken George restaurants? I'm t mont here and today on news corp, i'll talk to the president and chief executive officer of chicken george restaurants. Hi, i'm howard anthony. And today on the entertainment page will feature the artist behind the sizzling single Do me Baby, the lovely melissa morgan. Also today, a spotlight on America's shining superstar, Whitney Houston. And an up to date look at local events on this week's edition of the entertainment page. One Jaguar me as we meet Wynton Marsalis critically acclaimed jazz and classical arranger, composer and producer. He's here with us and he's live Wynton Marsalis up next on City Line. If I have to. Good afternoon and thank you for joining us. We're all very excited here in the studio. And to keep you folks at home on the edge of your seat. We're going to bring on at this very moment Mr. Wynton Marsalis. I think they like you also. Hey. Hey. I'll do it. Of course. You're appearing here in town right now. Has been going since Tuesday night. We're not pretty. We are. We're trying to develop some things, work on the music.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=35.62,194.22"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"People come now, They dig it. People are amazed that that someone of your youth displayed such control and character in two very, very different aspects of music, classical and jazz. At what point in your life did you begin to take music seriously? Well, I guess when I when I was about 12 years old, I started trying to get women. I find professionals. I started getting serious about music. I remember I was listening to a John Coltrane album, Giant Steps, and my father father's a musician, so we always had like millions of records, all jazz records. But I never listened. And I even had a trumpet there When I was about 12. I started listening to Train, and I liked it because it was like a brother on the cover who was serious and I knew something serious was going on and I just had to play this record over and over. And it's a tenor saxophone and I played trumpet, so I just really did it for a love of the sound of the music. So from that, from listening to Train, I started listening to different people and I really wanted to learn how to play and reading about some of your comments about music and so forth. You don't leave too many jazz musicians out in terms of having influenced you. Are there any that you would put at the top of the list? I mean, the geniuses of our music, which is like five or six people Louis Armstrong. Duke Ellington. Charlie Parker. Thelonious Monk. Ornette Coleman. Clifford Brown. Miles Davis. Miles is playing Jazz Train. You know, a lot of all the cats, you know. So for me to really single, it's like a body of musicians who have created important work, you know, at your age, 23, 24.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=195.48,304.86"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Do you think that you're just an extraordinary talent or is it that you worked hard to get where you are? You know, the thing you have to understand is that talent is not very important, is not an important thing for a musician. The most important thing for a musician is understanding, because when you understand, you can develop and development is what the key to art is. Because you start off, you're not going to be Charlie Parker or Louis Armstrong. He wasn't Louis Armstrong until he matured. And when you deal with mature subject matter, you have to have a mature man. You have to develop into that talent just means that you have aptitude. You know, you can if two people are sitting in a room, may take you 20 minutes to learn something. Is a man with talent and learn in five. But you know, life is a long distance race. We talk about that maturation process. You mentioned the Miles Davis when he was playing jazz know when we had Miles on the show, he had a great deal of difficulty or did not want to talk about jazz or classifying jazz. How do you feel about that? Is jazz an adequate and adequate term to define a body of music? Well, I mean, it's not adequate, but that's what the term is. You don't have any problem. So, I mean, I have problems with the way that is is used to mean anything. Mm hmm. But then that's what the term is, So. You know, I mean, looking at what can you do? I can't make you can't redefine Duke Ellington. Everybody has been trying to do it. Musicians far greater than I am trying to do it and is still they still got all the jazz.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=306.15,400.97"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So it's like if you want to change with the word here, you can want to change it, but that's what it is. Okay, We'd like to involve our home audience into the conversation with you. So many people have asked to get in the studio and unfortunately could not. If you'd like to be in touch with Wynton Marsalis, call us now at 41, 13, 13, and perhaps you'll be lucky enough to talk with him directly. Please call us. You know, I don't want to pit you against anyone in a sense that perhaps is unfair. But we were lucky to have Miles Davis here as well. And we're lucky to have you here, too. But Miles Davis said some things about you, which we will share with you later. But we'd like to know what you said when Miles was playing jazz. You don't think Miles is playing jazz now? No, I know that he's not playing jazz now. Why do you say that? Well, you have to understand that. I mean, I have almost every album Miles Davis ever put out, and I love the music. Miles Davis, me. But I also know what it is. What does it mean if you take an album like Funny Valentine in Concert, which was recorded in 1964, and he's playing popular tunes like My Funny Valentine and Miles plays all development. That's like almost the highest level that the trumpet can be played on. And you listen what you just did, like human nature and he's just playing. It's all like Michael Jackson is somebody saying it. He isn't improving the melody or anything. He's just playing it exactly like it was on the records trying to make money. Where's on Funny Valentine in concert? What you is, is Miles Davis improvising on a popular melody, turning a piece of folk music into fine art through his Improvizations do you think that we are losing as a result? It's not the same.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=401.33,508.64"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Miles Oh, it's definitely not the same. Miles. And if you know the albums, then you know that what I'm saying is correct. What happens is a lot of people don't know the man's albums, don't know his work. I mean, I know Miles Davis solos and it's like one of my heroes I was growing up, so I was paying me to see Miles, who I know, knowing how great a trumpet player he was when he was really playing, just standing up, not playing. And so, you know, all kind of stuff about brothers can't play and all this dumb stuff that he says every time he gets the chance to open his mouth. I mean, at one point people don't understand it. Miles Davis was a very proud man with a lot of integrity. And in the fifties and sixties, when brothers were expected to do cheese and Miles wouldn't do that, he was one of the first brothers to say, Now, I'm not going for this period. You know, I'm a player this long. I'm abilities, too. But I think what happened to him is that he just got he started thinking the issue was him and that it was music. And, you know, that serves as an example for young musicians who come after him. You have to realize the music is the God that you serve, that you boil down to. Music does not boil down to you. You have to realize music is a great thing. I mean, there have been many great trumpet players in jazz. Look at Louis Armstrong or Dizzy. Offense. NAVARRO So, you know, we have Miles, he just lost. He lost too much ego hurt you. Okay. We have to take a break on that point. We're going to get back here and find a little bit more about Wynton Marsalis, his views on music and the industry.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=508.94,596.63"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Please stay with us. We'll be right back. Come back to City Line. And all I have to say is Wynton Marsalis is our guest today. We're going to take a call now. Hi. CALLER Are you in touch with Wynton Marsalis? Uh, yeah. Uh, can you hear me? Yes, go ahead, please. Yeah. I'd like to know how you talk about, um, jazz, Louis Armstrong and so forth. Had a lot of inspiration on you. Was there any, uh, uh, regardless of race, white and black as performers, as it had an inspirational. Well, I'm too. I don't recognize the term white jazz, and I only recognize I see the geniuses in the music. I just like if I listen to European music, I accept Bach, Beethoven, Haydn, Mozart, Stravinsky, all these people, all these people are black, but they are the greatest in that music and jazz music. None of the greatest performers have been white musicians. That's a fact. Now, I'm not a racist in terms of music because I can recognize greatness, whether it's Beethoven who skin was white, even though his music was not white music, and Louis Armstrong, whose skin was was brown. You know, his music is not black music. The problem we have in America is that whenever a black man comes up with something, it becomes a black invention instead of an American invention. The Wright brothers invented the airplane. That's not a white invention. That is an American invention. It was Armstrong was one of the greatest geniuses we have in music. That's not black music. It's American music since we have grown up under this racism. And I have to respond. And I need only Negroes and music, which is basically Negro music. And thus it's the only American music we produce.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=597.26,772.91"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"People say what you think about white musicians. Well, I don't think about white musicians and jazz, because the ones who play are not like Louis Armstrong or Charlie Parker. I can enjoy music that's made by white musicians, but I don't feel comfortable putting them in the pantheon of our greatest musicians because they just simply have been none who have exhibited that level of understanding of American music. Okay. Thank you, caller. You find a notable difference between, uh, uh, appreciation of jazz in this country as opposed to, uh, overseas. Well, I mean, that might have been true in one point, but I don't believe that now. Mm hmm. And a lot of times in Europe, they would use the American jazz musicians. To say that. Um, well, like, when I go, when I went to Europe, they would always say we Don't you think it's better over here than it is in Europe? I'd say, No, it's not. I mean, I do think it's better in Europe than it is in the United States. As I say, no, that's not what the case is. It's less racism here because you don't have as many black people as we have in America. So if you imported all the Negroes from America to Europe, they would be hating just as much as they it. Did. Did you feel that, uh, the jazz of the young artist of today, you know, there's a lot more commercial success being found among young jazz artists today. Is that, uh, a particular phenomenon, or is that something a new appreciation for jazz? You know, a lot of people are not playing jazz. I mean, I've been I've been successful, but that's I don't know why. I think a lot of it is because I play classical music and I can still try to understand a lot of people who are successful don't play jazz.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=773.72,863.98"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They play pop music and they play solos on top of. Music is a complete music, you know, Improvization. Every instrument has got to improvise. Give us some names of who you consider some of today's jazz artists. I mean, Terence Blanchard and Dom Harris, and they're coming out with an album on CBS. They're good young musicians. Simply submit plays with the. Yes. To Steve Coleman. David Murray. I mean, a lot of people are playing, but in jazz, you know, the guys who have been playing and I still playing are valuable to jazz, and that's something that's trendy. So you have to constantly look for the new person. I mean, Modern Jazz Quartet still plays Art Blakey. The Jazz Messengers still play. Let's go. James Moody, he's still at play. And Tommy Flanagan is playing the wide range of music that's being presented to the public. Okay, let's take another call from Home High. You're in touch. Hello. How you doing? Okay. I'd like to know how what separates contemporary music from regular jazz also is because I find it sometimes hard to understand the type of music you're playing. I mean, I would like to get into it, but sometimes I find it hard to understand. So how do you separate the two? I see that the first thing I want to use it is good that you find it hard to understand because the music, art, music is about expansion, you know, the music is trying to make you expand yourself and do things that you don't normally do. Just like there's a difference between music for recreation and music for education. I mean, recreational music is good too. It's just that you have to distinguish between the two of them, really. Most of the times when you consider what they call contemporary jazz is just glorified pop music.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=864.43,967.15"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the way that you can tell is that at the core of jazz music is the conception of development. I don't mean that if me and you are having a conversation. I'm not repeating the same thing over and over again to you. We're discussing something in some points. Issues are being raised and some solutions are being found within popular music, which you tend to have. And I'm not once again, I'm not saying this is a negative thing. I'm just merely describing what it is. You have something that's repeated over and over again. In jazz, the musician is trying to improve whatever that is, is being repeated into different things. So it's hard for you to listen to because it requires you to use your mind in another type of way musically that you might not perhaps be used to, but it's just something that you have to just develop a taste for. Because I mean, I had to do it and I can really understand how people will like the kind of music that I play because I didn't like it either. We we have questions from the audience. I sure do. A lot of folks want to talk to it. Yes, sir. You have a question. Mr. Marsalis is indeed an honor and a pleasure to have you here in Baltimore today. The artistic and intellectual level has tripled since you just came into town. I admire you tremendously. Management not only for your music, but for the image that you project as far as the lifestyle is concerned of being dedicated to truth, which I do respect greatly. But some of you I read the article that you wrote in Ebony magazine this past month and you said that people call you a purist.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=968.76,1051.62"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I want to ask you, don't you think that your ideas of being purists and staying based in truth are you criticize Mr. Miles Davis, who is who is an idol of mine, and you have tarnished him a bit. But I know it was done out of love. So I'm not going to get too angry. You know, I know I didn't I didn't tarnish me, tarnished himself. I want you to understand that. I mean, I love him. Man, that was great. I learned he played. You know what? I want to ask you that. Miles now uses some electronic pieces in his music instrument and so forth. Don't you think that that could also embellish and enhance the music rather than bring it down? Definitely. Oh, yeah. It's not the instrumentation that makes his music sound like what it sounds like. It's not the fact that he uses a synthesizer that makes him not play anything on the trumpet when he's on the bass that says the fact that he's gone from playing jazz, he's selling his credibility as a jazz artist and using the public by appealing to he's selling his credibility as a jazz artist into the popular idiom that has documented in a book the Clive Davis group called In the Music Business, as he was the president of CBS Records when Miles Davis sold out and started playing popular music. So what you need to do is get that book and read Clive Davis That happened. Miles Davis. So you're accepting Clive Davis as a critique as the B word and the assessment here, because the music goes along with his assessment, not just because he said it, but because the Sound of Music. James I just said a few minutes ago that you don't understand why you're popular.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1052.55,1142.73"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No, I mean, as a jazz musician, you know, like, I'm one of the few people that people say, Oh, yeah, Wynton Marsalis You had Winston Winston Marshall. You know that since he was as a joke in a band would be like, That was my brother Wisdom. Marshall Yeah. Marshall Where you playing? And they, man, you know, yeah. We plan, of course. No, no, my name, But they don't know any of my music. You know, it's like if you, if somebody is popular, you know, they're popular for something, that's, that's the way we'll be blowing that on. So it's not really a thing of. Tell us tell us how, though, you became so interested in the classical idiom, because that is an odd kind of combination, jazz and classical. Well, I first started off because I grew up in Kent, in Louisiana, and. The perception was always the brothers could not play, you know, couldn't read, couldn't play classical music, have Negroes, They could make up their music and you have a good time, but they just cannot play what they call serious music. And I mean, I didn't really understand as when I was 12 or 13, as in, man, I know I can practice my horn and play this. I mean, I can't be as hard as Clifford Brown is playing on on bass and street. So I started playing, and then out of that I developed an actual love and respect for the music. I started off like on the false racial premise and discovered that, like, classical music don't have nothing to do with white. You know, what does that have to do with me? Like, Beethoven's music is dealing with recognition of some human values. Is this the exact opposite of the racism, this pregnancy and all over the world right now? He was trying to do getting out from under the foot of the nobility.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1144.46,1237.05"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was saying, well, look, I'm just as I'm Beethoven, I'm a genius. These people, Prince, whoever he is, he ain't me. I ain't getting off the street for him. No, he had the same type of problems that the brothers with Louis Armstrong and them would deal with as a human right in reality. So then I actually developed a love for the music, and I just kept playing and in practice in this study and. Okay, well, we're going to learn more about you and more about your music and some of your ideas about others in the field. We're going to take a break and come back and please call us at 41, 13, 13. Now, here's this week's community calendar. Hello, my name is Sandra Meakins. The Women's Resource and Development Center at Bethel A.M.E. Church invites you to attend a gala banquet on Friday, March the seventh at the Omni International Hotel from 7 to $0.10. Our special guests will be Mrs. Susan Taylor, editor in chief of Essence magazine. Proceeds will benefit the Women's Resource Development Center. For tickets and further information, call 462h. E. A l. Hello, my name is Crystal Giselle. The Black Students Association of the University of Maryland Law School invites you to attend the 11th Annual Awards banquet at the Omni International Hotel on Saturday, March 15 at 6:30 p.m.. Our guest speaker will be the Honorable Mabel Hubbard, Baltimore City Circuit Judge and Live Entertainment by Mon August. For tickets and further information, call 5286069. Hello. My name is Shirley Pulliam. The Baltimore chapter of the National Black Women's Consciousness Racing Association is sponsoring a health symposium on Monday, March 3rd at 6:30 p.m.. Speakers of the seminar will address health problems of the female, such as obstetrics, gynecology and stress.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1238.16,1496.04"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The location is 5513 York Road. For further information, call 6859418. If your group organization would like to announce an event, please write us in care of Cityline. WJC TV Television Hill, Baltimore, Maryland 21211. Or call us for further information at 46600013. Between the hours of nine and five. Welcome back. We're talking with the one and only Wynton Marsalis. And anyone who wasn't curious before the show started is certainly here the Curiosity peak. And we're going to continue playing him with questions right now. Okay. Hi. I would like to welcome into Baltimore and congratulate you on your Grammys. I was reading in a magazine article about how you seem to be discouraged about the fact that not that the black the majority of the black populace are uninformed about jazz. Now, what I want to ask you is, what do you how do you think that we can become more informed about jazz? And what way would you suggest? I think the first thing we have to understand is that recordings are historical documents, much like scores of documents in European music. Mm hmm. And when I when I'm speaking about jazz, I want to make sure that everybody understands that I'm not talking about myself. I'm talking about the into the history of the music, which was already rich and great long before I was born. So, I mean, recordings like Duke Ellington's recordings, he put out records from 1924 25 to 1971. I mean, that's a wide body and there's every type of music you can think of in that body of work, reggae music, some rock beats, anything you can think of, but it's all dealt with violence. And I think that we have to start getting the proper information out to our people and our entire education system should be different anyway.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1497.09,1642.45"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But that's another whole topic. You know, I'm just a musician. So do you think that we should start within the school system? An early age, perhaps. You know, school systems are so pitiful now because I go everywhere I go, I go to schools. Mm. I mean, I have brothers and sisters in bands now playing over Sheila's stuff. I mean, they're not even read music anymore, so I. We should start in the schools, but. You know, if I had to say a practical application of what I think, I really would be hard pressed because I really don't know what to do now. But how hopeful are you that we will indeed preserve the jazz heritage? You know, because we're even criticized in preserving all aspects of our heritage, whether it's about Martin Luther King or Crispus Attucks or whatever, whatever. How hopeful of you that we're going to preserve that? Well. To be honest with you, I'm not that hopeful, but I think that it's possible. It's just we have to understand that people cause things to change, that things don't just come about. Like, if you go, if you just like, if you go to the bathroom and flush the toilet, that's going somewhere. It's not just, Oh, well, I'll just flush the toilet now. Well, it's not over. Everything has is related to something like Martin Luther King. You know, people constantly get up and they talk about his dream. And I remember the king was a serious warrior with a plan and an intellectual approach to things. And this is a great man. So I take one quote of one speech that the man gave in his entire life, all of the millions of speeches and articles and stuff that he wrote. I have a dream.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1643.5,1738.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's all you hear. Then you know, they have this entertainment special with all of these people getting publicity and you participate. Yeah, but, you know, if I if I had known it was like that, I wouldn't have been in it because I have too much respect for the man to just disrespect them. You know, they have a film clip of him, obviously, the one level of integrity. Then they go to some of the people who are playing, just like, Go look at me. You go from an issue to some bro. So we really have a problem preserving all of our stuff, everything knowing we have to understand the most greatest thing a group of people can do is create an art form, because that's the highest stylization of your experience in a given environment to pass on to the next. You have to do it because that keeps the people strong and informed and proud. Okay. Let's go back to Betty. Another question. Yes, sir. Yes, Mr. Wynton, I'm a big fan of yours, and I'd like to know how you see you and your brother, Bradford, hopefully getting back together, forming a group and why he left in the first place. I don't think we're going to get back together. He he just decided he wanted to do something else. You know, I mean, I can't you can't like whatever people want an individual want to do this individual decision. I can't say, well, man, you have to believe in what I believe in or you have to. He wanted to pursue another direction. Do you think he felt smothered under your with your big title, so to speak, and big name? Yeah. I mean, I don't I, you know, I don't really know because I.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1738.33,1823.62"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You didn't ask him ever. I mean, if you ask your brother something like that and he's the older brother, they'll say, yes, I would ask him. I mean, of course he said no. He would say no. But what do you think? And I really don't. You know, I can't because my brother is such a talented musician, you know? I mean, my brother's a great musician. My brother can play any kind of music and it'll sound good. So, I mean, whatever he decides to do, he decided to do something else, so. Okay, We're going to take another call from home. Hi. Hi. Oh, I'd like to ask Mr. Marcellus what is his concept of the late Stan Kenton, who was considered a progressive rock artist? He was cool. Is that all? I mean, you consider him as a white jazz artist or just an American jazz artist? I'm. I told you already. I don't deal with that. Which I don't deal with those racial titles. You know, Stan Kenton's music, the his contributions to the music. Well, whatever they want. If you like this music, that's a personal thing. But if we deal with that style of music, the preeminent composers, Duke Ellington. So, you know, that's was music I would like to deal with. I don't like to cut Stan Kenton down. He was good, if you like him. Good. Thank you. You know. Even though Bradford has left, you envision a time, for instance, when you or your father and Bradford might get together and do something special? No, I don't think so, because he wants to do something else. What about you? Are you interested in doing anything else besides classical and jazz? No. I mean, what I'm trying to develop as a jazz musician.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1825.16,1919.65"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm not interested in trying to do other idioms, you know, because it's too hard to learn another idiom of music. Okay, We're going to find out a little bit more about Wynton Marsalis in just a minute. We have to take a break right now. Please stay with us. Transportation for City Line guest is provided by Total picture tours featuring bus, boat, helicopter and limousine services. Welcome back. Then our pleasure this afternoon to have with us an outstanding performer, Wynton Marsalis, who, by the way, is playing an extended engagement at Ethel's place. Ray will be there Monday until Monday. We have three shows. And you've been sold out since you hit town? Yeah. What are the times? Are those shows at Ethel's on Monday? You know, let's see. Eight, 1030 and 12 3001 I'm not sure what's the last uniform. Okay. We'd be remiss if we didn't get you to give some of the younger musicians a little advice in terms of not only developing their skills and their ideas about music, but also how to get the kind of, uh, support and training that is needed. Well, you have to call teachers, buy records, study research, go to libraries, be a pain in people's bodies, you know. That's what I used to do when I was in high school. All I wanted to do was play trumpet. I mean, learn the music, love the people are playing. Go down with your own. Try to sit and try to get advice all and develop a love for music. And that comes from listening to a lot of music. Listen to it. Don't develop a love of yourself being on the stage because if you do that, you never develop as a musician. So that's the key isn't.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=1920.4,2119.21"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Get a real love of music and realize that you are developing. You won't be Louis Armstrong and you start off and you probably won't be him when you die. But you have to try to develop as much as you can develop. You know, let's let's find out some personal things about you. And I know everyone's going to want me to for the audience, not for me. Are you married? Oh, no, I'm not married. Okay. Are you engaged? Oh. Is there anyone special? Oh, no. Okay, so that's in the future. Okay. What kinds of things do you enjoy doing when you're not playing what everybody likes to do? Such as, you know, we all like to do? Well, I like to play basketball, too. And just, you know, anything. That's whatever is happening, I'm, you know, I can go whatever is going on. I was just laying back, reading something, hanging out of players and Bob. I don't get high nothing. So I just have to sit when people are getting nice, check them out. Yes. You live in New York, and as much as you travel. Do you come across any particular places that you enjoy being more than others? Yeah. I mean, I like if I know people. I like every place, man. If I know some people, I even like Japan. Okay. But, you know, if I don't know anybody, I don't like it. So I don't care where I am. If I know some people are going, I'll go to their house, get some food, check out some TV, see where they where they are, and I have a good time. Do you like any of the pop music, the beat box stuff? Yeah. I mean, I like I like KURTIS Blow and Gay, you know, I mean, I like the music that has a certain type of Negro nobility to it, but that's Louis.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2120.84,2221.81"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was listening to some James Brown Big Payback and all the guns, though. I mean, even was old. It had a certain type of Negro character. See, now the brothers are trying to do what they call crossing over. So they're selling our music out to to to appeal what they call rock n roll, which is originally a Negro style anyway. But they're doing that and not even studying the style of the music. They're doing it to imitate some white people to get on white radio. You know, I just it makes my heart feels heavy with sadness. And just because that was popular music was such a hip thing, you know, with Marvin Gaye and Donny Hathaway on God's parliament, when in fact, you know, that sound is gone. Do you think that the consolidation of the recording industry is has had a detrimental effect on on the amount of crossover, the amount of music? Well, that's because of the problem. Martin Luther King was afraid of integration. Mm hmm. Said his PRI his his main reservation on integration was that he felt the Negroes would look upon their past as something to be avoided in a troubled time period and try to appeal to a way of thinking that is basically a Negro imitation anyway. Mm hmm. And some of the Duke Ellington also said in the thirties, John Hammond, who was a producer, said, Well, do one, Would you like to integrate your band? He said, We have all the music, man. Why should we integrate? You know, I'm listening to you and I'm wondering how did you become so wise in so few years? You know, I'm not that way. I'm just I mean, I'm lucky because I know people like Stanley Crouch, Al Murray, my father, guys I can talk to, they know infinitely more than I know.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2222.14,2311.26"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They turn me on the books and they say, Hey, man, learn this. Check this out. I played with Art Blakey. I've had conversations with all the kids. I mean, old musicians, they turn me on information. So you avail yourself of the information that is out there and free. Really? Oh, definitely. I love to receive some good information because that's the only thing you can really use for your development is something that's true. You know, in just a few short years as as a headlining artist, you've pretty much reached the pinnacle in terms of acclaim and popularity. Where do you go from here? Well, I have to learn how to play. And, you know, I'm not saying that to be facetious. This music is hard, man. I'm not even close to the level. I mean, Miles and them and Clifford and Festival and Dizzy, they put the music on a very high level. And believe me, man, we are not playing on that level. That's a level that you have to. I mean, just from a business standpoint. You know, I grew up. We didn't play blues. So we have to learn. Blues is a stylization. It's not a lifestyle. People try to make you think we have to now develop a blues idiom type style and sound standard tunes out of tune. When will you know that you've arrived? Well, I mean, I never arrived because Louis Armstrong. And so the thing is, every instrument, when you play your instrument, you are having a dialog with all the other instrumentalists that came before you. And I mean the history of my instrument of trumpet and this music is on such a high level that I will never really arrive. I'm 24 now. When I was 14, I used to listen to Clifford Brown with strings when I was 14, and I listen to his record every night he's always at, and if I could get my tone would be that big.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2311.44,2407.75"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And now this is ten years later, and I still come from Clifford Brown with strings and say, Well, if I can get my tone to be that big, You know, Clifford Brown died when he was 25. He died in a car accident. So, I mean, our music is I mean, if you know the music, you don't have any problems being humble. But. MARSALIS It's been an extreme pleasure. Wow. Does. That, Cameron. She'll be back. Good afternoon. Topping today's news cap. It was perhaps one of the fastest growing black businesses to hit the Baltimore market in recent memory. When Chicken George restaurants first opened its doors and Mondawmin Mall back in 1979. Business was booming and the lines were long. It appears that Chicken George is the result of seven years of successful experimentation and development, had hit on a winning formula and was preparing to take its place among the fast food giants. It appeared that way until recently when the company filed for bankruptcy under Chapter 11. Joining me now to discuss exactly what that means to the future of the company is Joyce H. Knox, newly elected president and chief executive officer of Chicken George. Miss Knox, thank you for joining us this afternoon. Help us out with our business education and explain how a successful business operation like Chicken George that reported sales of nearly $3 million in 1981, five years later finds itself filing for bankruptcy. Surely no one thing contributes to getting to federal bankruptcy court on last Wednesday. Oh, clearly a number of things played a part in that. The key thing that I would perhaps single out is on the capitalization of Chicken George got off to a phenomenal start. Mr. Knox in terms of sales and expansion.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2408.62,2608.45"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, what impact do you think that Chapter 11 will have on the public image of the business in terms of sales? Well, my my honest and best wished is that it will have very little effect. Our product is still the same. We're doing some things now to make the company more efficient, to make it leaner. But clearly our focus will still be on providing a good product for our clients. Our staff is geared up and we're still enthusiastic and we hope that will be translated to the public and they will continue to have faith in us. And we've seen that even over the last week. As a matter of fact, I was in one store and the manager there said people were coming in and buying such large numbers. It was though they were hoarding it as if we weren't going to be around the next day. And surely that's that's not the case. So right now our emphasis is on keeping our product at its best, in fact, implementing policies and procedures that will ensure the quality, the friendliness, the courtesy, the cleanliness, that all of those things are still in place. Mr. KNOX, could you help me out here? You say underutilization in a nutshell. Capitalism under capitalization. But Chicken George, in its first year of operation, if I recall correctly, surpassed its own projections of what sales were going to be. Clearly, and we're talking perhaps two different. Two different things here. We're not talking a function of sales, and perhaps we are in the sense that we were using sales dollars to expand the business, actually. We tried to do internal funding and internal financing, perhaps when at times we should have and could have gone to the investment market to obtain funds.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2609.4,2709.96"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we're not, strictly speaking, of a function of the decline in sales. Clearly, we have had an encroachment of our market when we originally started. Some of our concepts were new and we have seen some dent in sales as we've had other as we've had competitors move into the market. But what we did with those fantastic sales dollars was to funnel funnel those dollars back into the business and perhaps expand it a little too rapidly. Perhaps we should have, instead of using our own money, have tapped the resources of the more traditional funding sources, the banks, the investment companies, investment brokers, investors, those kinds of things. Talk briefly, if you will. Mr. Fox, Just a little on expansion and how Chicken George was involved in other business ventures outside of the chicken restaurant itself. I'm glad you asked that because that actually played a very key part in getting to the point that we are today. Originally the the company Chicken George Company. Geology Industries. Was in principle financed through other contracts that the parent company held. These were primarily small business Administration contracts because we grew so large and we were so successful, we were graduated out of that program. We're talking about programs and contracts that provided millions of dollars to finance the Chicken George operation as we were graduated out of it. And those dollars began to shrink and finally were terminated. That had a direct impact on the number of dollars that we were then able to fuel or funnel internally to the Chicken George operation. Help us out here. Also on Knocks, Chicken George was founded by a black man, Theodore Holmes, who was the owner of the company. Now, exactly what role does Mr. Holmes play in now? Which will be the future of Chicken George? Well, Mr.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2710.8,2827.16"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Holmes is a director, a member of the board of directors of the parent company and the board directors of all the Chicken George Chicken Operations. And it was actually through his vote and the vote of others that I was elected president. So I am eternally grateful to him. And I think that the goodness that is a part of Chicken George surely emanates from him and his energies. And I still talk with him and I hope I have his blessings and his wisdom. Ms. KNOX So do we. And we thank you for joining us this afternoon. Thank you. And that is today's newscast. I'm t Monte Moore City Line up next. Stay with us and have a good afternoon. They got. Honey I love. Hi, I'm Howard Anthony. You know, up to now, the sultry voice of Melissa morgan has been mainly in the background. She has performed as a background singer on national tours with Chaka Khan and Kashif, as well as on recordings by Melba moore and Whitney Houston, just to name a few. With the release of her debut album entitled Do Me Baby, the stunningly attractive songstress makes a strong move toward front and center on the album. Melissa showcases a seemingly limitless vocal range with a vocal power and a sophisticated songwriting and production ability that goes far beyond her years. Melissa contributed her writing ability to seven tracks on the album. As is the case with many artists, the Queens New York native got her foundation and a local church choir. From there, she moved to performing and singing with local groups and other wannabe stars. Of this experience, She says she can't remember the names of some of the groups because they only lasted for two or three weeks.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=2827.49,3073.44"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"From there, Melissa moved on, only stopping to study music theory and theater at Juilliard for a short time while working toward reaching the day she felt would always come. The day she would be able to show the world just how good she really is. Topping the charts with her first solo release, Do Me Baby, here's Melissa morgan. Do. It just to. This. My. Oh, no, you know. Never. Give it to me. To get. To say that. But just, you know. But. For reasons you'd. And down. But. I got the Caesar. Stop teasing me. Oh. I could never know. Not only does. Just saw that. To. Oh, give it to me. Just. To me that. But, you know. Good. The. Oh, yeah, that's me. That was the smooth sound of Melissa morgan with the revival of one of Prince's songs, Do Me, Baby. You know, Whitney Houston has proven herself to be the real Cinderella of this year's Grammy Awards ceremony. Not surprisingly, Houston topped the category of best female pop performance for the album Saving All My Love for You. Since early teens, Houston has been singing background vocals for the likes of her mother, Cissy Houston, Chaka Khan and Lou Rawls. The 22 year old was nominated for three other Grammy Awards, including best female R\u0026B solo performer. After her next album, due to be released soon. Houston plans to tour the country and release a gospel album. According to her cousin, the legendary Dionne Warwick. Whitney Houston has the genes to be a star for a long time to come. On the local scene, the Arena players are presenting the Orphans by James Prado on March seven through March 29th at the Arena Playhouse, located at 801 McCullough Street. Also, if you're interested in life under the Big Top, then you'll be glad to hear that the Ringling Brothers and Barnum and Bailey Circus will be holding interviews and auditions for female dancers and their clown college.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=3074.16,3381.59"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All applicants must be at least 17 years of age and should have said, Enter the Baltimore Civic Center through the South Pass gate. For additional information, you can call area code 2023645220. Also, aspiring black actors and actresses are being sought to participate in an educational video to be produced and directed by Don Walls. The production is called Better to be Led Safe Than Sorry. If you're interested, Harry in call 7271324. And last but not least, I'm thrilled to inform you that Baltimore will once again be treated to the magnificence of the one and only Alvin Ailey dancers at the Lyric Opera House on March six, seven and eight. The appearance of the 30 member troupe is sponsored by the Urban Services Agency's Cultural Arts program. Listen, if your budget only allows you to see one show a year, please make this the occasion. For further information, contact the Urban Services Agency at 3963181. Well, once again, it's time to pack it in for another Sunday. I'm Howard Anthony, hoping you all have a great week. Fantastic job. Oh, I loved him. And another fantastic thing has happened. Some of you may recall a very special show done by WG some time ago on up on Pennsylvania Avenue. I'm very pleased to tell you that, Jack, you know, the first associated with that show on the very prestigious Ohio State Award for one of the. Now my speech. I must thank my thank you for that. Really. We were very, very proud of the project at that time. And certainly we are now to think that somebody has recognized beyond us my mother. Okay, Next week, next week's show, we will have something that we're calling Black Magic. That's right. And it isn't about voodoo. Okay.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255#t=3382.28,3503.1"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105494/file/206255/transcript/48903/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay. It isn't about witchcraft. It is about magicians, local magicians. In fact, we will have three outstanding magicians from our area on that show, and it will be something to watch. And now you see it. Now you. I'm looking forward to it. Yeah. Okay. Well, what else? I guess we go. Bye bye. In a nutshell, thanks for joining us on Do that with Jackie Hall. Have a good, good friend. 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