Home' Trinidad and Tobago Guardian : October 24th 2013 Contents B47
√ Warehouse area of about 12,000 - 15,000 SQF inclusive
of 2,000 SQF of air-conditioned office space.
√ Parking space for at least 10 - 15 cars.
√ Fire alarm system and fire hose station with Heat & Smoke
detection and sprinklers.
√ Sealed walls and floor.
√ Minimum of 4 to 5 docking doors above floor level and 2
Exit doors in the warehouse.
√ Cross ventilation.
√ Minimum of 2 restrooms (women + men).
√ Data and telephone connections.
√ Lighting inside and outside perimeter.
√ Utility / maintenance room.
√ Perimeter Fencing.
√ Water Storage Tank & Pump.
√ External Graded Drainage Channels (storm drains).
ABILITY TO PROVIDE SUPPLEMENTAL SERVICES SUCH AS TRANSPORTATION,
WASTE DISPOSAL, FORKLIFT SERVICES, WAREHOUSE MANAGER ETC WILL BE
CONSIDERED AN ASSET.
Please send your proposal to
by 5th November 2013.
Thursday, October 24, 2013 www.guardian.co.tt Guardian
This October 8, 2013 photo provided by Jazz at Lincoln Center shows the Jazz at Lincoln Center Orchestra
with Wynton Marsalis, centre, Chorale Le Chateau, and conductor Damien Sneed, performing Abyssinian
Mass at Friendship Missionary Baptist Church in Charlotte, NC Marsalis has taken his Jazz at Lincoln Center
Orchestra all the way to China and Russia, but the trumpeter says its current Abyssinian: A Gospel
Celebration Tour is the most challenging in the band's 25-year history. AP PHOTO
Wynton Marsalis has taken his Jazz
at Lincoln Center Orchestra all the way
to China and Russia, but the trumpeter
says its current Abyssinian: A Gospel
Celebration Tour is the most challenging
in the band s 25-year history.
The tour of US performing arts centres
and churches involves a convoy of four
buses and an equipment truck. The 15-
piece orchestra and the 70-voice Chorale
Le Chateau conducted by Damien Sneed
are performing Marsalis Abyssinian 200:
A Celebration, an extended work blending
gospel and jazz traditions he wrote in
2008 to celebrate the 200th anniversary
of Harlem s Abyssinian Baptist Church.
"There s never been a tour where a
jazz band and a big choir like this went
on the road and played a piece like this,"
Marsalis said in a telephone interview.
"It s definitely a spiritual experience when
you get the choir and the band and the
congregation in there together."
The piece, based on the liturgy used
in many African-American Baptist
churches, draws on diverse influences.
These include the lessons Marsalis learned
from his music professor father about
traditional spirituals, hymns and gospel
music, his own experiences as a classical
trumpeter performing the religious works
of Bach, Handel and Palestrina, and his
vast knowledge of jazz styles going back
to the music s roots in his native New
The 52-year-old Marsalis is comple-
menting the tour that concludes this
weekend with concerts at Jazz at Lincoln
Center s Rose Theater in New York and
Boston s Symphony Hall with the release
this week of The Spiritual Side of Wynton
The album is a 15-track collection of
spiritually inspired works that he recorded
from 1988 to 2002. It includes selections
from n This House, On This Morning,"
Marsalis first commissioned work for
Jazz at Lincoln Center in 1992, capturing
the feeling of a Sunday morning church
service in the South.
The tour s main sponsor is a founda-
tion set up by a leading black business-
man, David Steward, founder of World
Wide Technology Inc Steward described
the concert series as "an excellent oppor-
tunity to celebrate and share the joy, cul-
tural heritage and power of gospel and
jazz with long-time fans and new lis-
Earlier this year, the orchestra made
a US tour playing a repertoire that covered
its entire history. It performed everything
from early New Orleans jazz to Ornette
Coleman s modern jazz as well as classic
tunes by Duke Ellington, Thelonious
Monk and Dave Brubeck, and compo-
sitions by contemporary jazz musicians,
including several JLCO members.
"This is probably the most flexible
ensemble ever in the history of jazz
because we have to play so many different
styles of music," said Marsalis, JLCO s
Marsalis also hand-picked the 17-piece
Jazz at Lincoln Center All-Stars to per-
form in the new Broadway show After
Midnight, starring Fantasia and Dule Hill,
which celebrates Duke Ellington s years
at the Cotton Club during the 1920s.
Trombonist Art Baron says the band is
using some of the same transcriptions
of Ellington s arrangements that he played
as a founding member of the Lincoln
Center Jazz Orchestra, as it was known
when Marsalis formed it in 1988.
Baron, who played with Ellington
before his death in 1974, said the Lincoln
Center orchestra had "a very similar
vibe... in which people were not judged
by the colour of your skin or by your
age, just by the music you made."
Marsalis formed the orchestra a year
after Lincoln Center executive Alina
Bloomgarden invited him to serve as
artistic director for three August concerts
at Alice Tully Hall. Marsalis couldn t per-
form then because he was on tour, but
those concerts planted the seed for Jazz
at Lincoln Center, the largest cultural
organisation in the world devoted exclu-
sively to jazz.
African-American scholar Albert Mur-
ray helped Marsalis understand the value
of having an institution to support jazz
whose mission would include putting on
concerts and offering educational pro-
grams. Atlantic Records founder Ahmet
Ertegun convinced him the organisation
needed its own orchestra to help preserve
jazz s large-ensemble tradition.
The original orchestra included mem-
bers of Marsalis septet and surviving
Ellington band alumni such as trombonist
Britt Woodman and clarinetist Jimmy
Hamilton, and at first played an almost
exclusively Ellington repertoire.
The orchestra gradually expanded its
scope by commissioning new arrange-
ments and compositions from nearly 80
musicians, including Marsalis Pulitzer
Prize-winning oratorio on slavery, Blood
on the Fields. Its members are actively
involved in JALC s educational pro-
grammes such as the Jazz For Young
People concerts and Essentially Ellington
High School Jazz Band Competition.
Over the years, the orchestra has trav-
elled to more than three dozen countries
on six continents---including tours of
Russia, China and Cuba.
"We like being cultural ambassadors,"
Marsalis said. "We present people with
another view of our country that s not
mercenary... and have a perspective that s
shaped by the highest and noblest of our
country s ideology."
Apart from Marsalis, 84-year-old bari-
tone saxophonist Joe Temperley, a big
band veteran, is the only holdover from
the original lineup. The band s youngest
member, 30-year-old trombonist Chris
Crenshaw, who joined in 2006, is among
ten current members who compose and
arrange for the band. Crenshaw s spir-
itually focused God s Trombones, an
extended work based on the poetry of
preacher James Weldon Johnson, was
premiered by JLCO in May.
"The orchestra has allowed me to do
things that I didn t see that I was capable
of ... It s opened up doors for me not
just in terms of playing but in composing,
arranging and marketing," Crenshaw said.
For Marsalis, the younger musicians
are carrying the torch passed on by the
orchestra s original members.
"Many of our earlier members have
passed away but the spirit that they left
with us is still part of the band," Marsalis
Marsalis marks 25 years
of Jazz at Lincoln Center
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