Stanley Sagov | Jazz Just Jazz

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Jazz Just Jazz

by Stanley Sagov

We play jazz music that comes out of very interactive close listening and paints a vision of a world in which we could live like that.
Genre: Jazz: African Jazz
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1. This breaks for you
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2. beautiful love
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3. going down easy
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4. My Romance
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5. I keep Going Back to Joes
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6. Manishtana
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7. Margos Softer Answer
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8. Since I Fell For You
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9. One for Spokes Mashiyane
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ABOUT THIS ALBUM


Album Notes
Stanley Sagov is a dazzling jazz
pianist and composer who is
skilled on a number of other
music instruments and who is also
skilled with surgical instruments,
as he simultaneously has a full
time career as a medical doctor.
He constantly amazes his
colleagues in both music and in
medicine with his ability to lead
such an intense dual life both as a
physician and as a musician.
Sagov is also a top notch
photographer who shoots nature,
people and places with the eyes of
an unusually sensitive personality.
Born in Cape Town, South Africa
in 1944 to a Jewish family that
had immigrated there to escape
the chaos and anti-Semitism that
followed the Russian Revolution,
the young Sagov grew up in the
midst of the horrid South African
regime of Apartheid and its
resulting police state.
The young boy was born with
Gordon’s Syndrome, an extremely
rare genetic disorder which can
cause club feet, cleft palate,
dysplasia of the hip and also
thumb in palm deformity. He
suffered greatly as he was forced
to endure the horrors of sixteen
different surgeries in London,
New York and Boston during his
first 13 years to help correct
various deformities. At school he
was stigmatized and teased by
other boys because of his
awkward gate and the necessity of
wearing leg irons for many years.
Marked by this great difficulty, he
he had a sudden insight at an early age.
“This was not my fault,” says Sagov, “Suddenly there was a realization about this around age 9. I remember walking uphill from a violin lesson one day and suddenly understanding the parallel between my being stigmatized for looking unusual and the terrible way that black people in South Africa were being treated by whites. How could others think that this was something that I had willed or caused and for which I should be blamed?” It is actually a genetic disease affecting both my daughters and my grand daughter.
“No one in my family played music professionally though my mother dabbled in it a bit, but when I was age six, I suddenly asked to play the violin. I have no idea why I did this! I was a bad but enthusiastic violinist! I remember wearing a British school uniform with a dark jacket and gray pants in the winter and riding on the top level of the English style double-decker buses with my quarter-sized violin. I had leg irons on because of the multiple surgeries and I must have been a strange sight.”
“I always felt a kinship with the black people of my country. The Passover story with its themes of being strangers in a strange land and needing to be freed from slavery and oppression and the cruelty and mass murder of my fellow Jews and family members in anti-semitic Europe resonated with my perceptions of the unjust society in which I was living. All white people in South Africa had servants, even if you were extremely poor and on welfare, you had servants. Our servants would carry me around and take care of me and I sensed a kind of nobility about the Bantu people in Cape Town. They had a lot of pride. In those days [the ‘50s] there were so many more black people than white. The ratio was about 4 to 1.”
Cape Town was the legislative capital and in those days there were only three white members of parliament who strenuously opposed the ruling nationalist party.. One of them , Leo Lovell came to stay with the Sagov family during the 6 month legislative session every year and had a great impact on the young Stanley by teaching him to play the ukelele.
This led to his purchase of a guitar on the way to England for another surgery.
“I was immobilized for a long time in England and there was blues revival happening there even before it really took hold in America. I was listening to folks like John Henry, Leadbelly and Big Bill Broonzy. I was crazy for Lonnie Donegan. Soon I was hooked on the guitar and was playing homage to the Chicago blues men and English skiffle music. When I went back to South Africa, I brought this music with me.”
“Back in Cape Town I remember that I auditioned for a band and I was wearing studs on my jeans. They liked me so I began playing with this very popular group called the High Five Plus Two. We played Fats Domino tunes, Little Richard and Jerry Lee Lewis titles and stuff by Buddy Holly and the father of rock & roll, Chuck Berry.”
“In a local band competition an R&B band led by a guy named Morris Goldberg who played reeds, won. Later Goldberg went on to play with Hugh Masakela and on the Graceland album tour with Paul Simon. So, when our band’s piano player got sick, I picked up the piano and learned how to play those hip R&B licks in our band.”
“My sister liked jazz and also my parents were listening to Django Rheinhardt, Duke Ellington, Lionel Hampton and Glenn Miller, so I was exposed to lots of jazz at home as well as to the music of the African penny whistles on the street. I heard the exciting music of the Black Township, this was Mbakanqga and Kwela music.”
By age 16, Sagov met a jazz bass player who was a romantic charismatic character; his name was George Kussel and he led the teen fully into the jazz world.
“The jazz scene in South Africa was a scene in the country that was strikingly integrated and different from the rest of life there. It was a life of beat philosophy, drugs like marijuana, sex and jazz. (naturally we also never inhaled!) This amazing music represented the fusion of European and Black cultures. This was an unusual niche in the apartheid society in which blacks and whites could reach out to one another. It was multicultural SOUL. It wasn’t about ‘it’s a black thing and you wouldn’t understand it.’ The jazz scene was always integrated in South
Africa. It was a statement that said ‘we aren’t a part of this Apartheid thing.’ There was sex across the color bar, and clubs that were openly integrated even in the face of it being totally illegal. Part of why it was sanctioned however is because the government was also using these jazz clubs as locations where they could spy on people, as many in attendance were real radicals and revolutionaries.”
“The music was great. Stan Getz, Bud Shank and John Mehegan came and toured. This was the ’50s and early ‘60s. They told us that we were creating the only jazz outside America that was REALLY jazz. Many of the same elements of race, social protest, suffering and pressing through racism were the same as they had been in America. Grass-roots Political resistance efforts were happening at that time and people were coming together around those themes as artists.”
“Dollar Brand (Abdullah Ibrahim), Chris McGregor, Kippie Moeketsi, Dennis Mpali, Dudu Pukwana, Todd Matshikisa, Early Mbuzi, Martin Mgajima, Winston Manququo, Johnny Gertse, Monty Weber, Chris Schilder, Midge Pike, Cecil Barnard (Hotep), Basil Moses, Hugh Masekela and Miriam Makeba were some of my heroes at that time. I got to play with all of these amazing people and they would come and visit at my home as well. I always had sessions going on with jazz people. This was striking because it had such a social, spiritual and integrationist agenda around the music.”
“I saw jazz as an oasis. Dollar Brand was such a brilliant player and actor. There was this amazing club called the Vortex which was owned by an Indonesian guy with incredible dope and good food and the music there was always very, very powerful. Sometimes Dollar would be playing and there was so much black humor in the society there . . . there was a deep feeling of implacable forces of oppression on one level, but we were young and simply into the music. Our mix of African and American jazz elements had the power behind it and Dollar would perform satirical guerilla theatre, skits, poetry and always his deeply soulful and swinging music.”

“These years as a teenager were wild years for me. I had a fling with an Indian woman, which was totally illegal. One day when my parents were away in Europe, my sister and I had one of our open jam sessions. By morning the house was filled with musicians sleeping everywhere and I was in bed with Aisha. Then my aunt showed up unexpectedly, checked all this out, phoned my parents and the next thing I knew, my sister and I had to live with my aunt till my parents returned!”
One night a wild jazz guy named Bob Tizard who played bass and trombone decided I needed to learn how to play “Perdido” and so we stayed up all night playing in a trio with Don Stegman on drums from 1 am to 7 am until I finally got it and could keep track of the 32 bar song form with cyclical changes and improvise on something other than the blues..”
While all this jazz life was going on, the young Stanley Sagov was also heavily influenced by medicine, as he’d been in and out of hospitals for most of his life with all the terrible surgeries to correct his club feet. Throughout high school he played music but he was equally drawn to science. Rebellious in high school, still he received high grades. There was never any pressure from his family to become a physician, but because he’d had experienced so much surgery, he had met lots of MDs and was drawn to the profession. At age 13, he went to England for several operations there and met a great Harley Street surgeon known as Dennis Browne who headed up very formal tours of the hospital dressed in striped pants and tails. Dennis Browne was a famous orthopedist who was subsequently Knighted by the Queen for his work and he took a liking to the young Stanley. Sir Dennis wrote to him through medical school and he asked him to study and come to work with him in London. Stanley also was inspired by several uncles who were prominent physicians in Cape Town who were also
very important in his choice of a medical career. In addition, Sagov had evolved a deep understanding about how Apartheid was so oppressive to people of color and how that affected the death rate in rural areas of South Africa. In those days, 50% of black children perished by the age of five years old in rural areas. The life expectancy was essentially plotted against the color of one’s skin and even by the depth of the pigment. As a doctor, Stanley could see how unfair the society was based simply on medical outcomes. He wanted to make a difference. So, in 1962, Stanley decided that he would attend University of Cape Town to study medicine.
“At this time I was still playing in clubs and had moved from guitar to piano. Just before going to the university, I had the feeling that I really wanted to know more about harmony and counterpoint. The Juritz family had moved in next door and the husband was a professor of physics who also played first rate bassoon and harpsichord with the Cape Town Symphony.”
“We became amazing friends. Here I was, a seventeen year old Jewish boy hanging out with a patrician musician named John Juritz. We had a great affinity and he taught me recorder and introduced me to my first oboe teacher. We formed a group that played baroque chamber music., I learned a lot about classical music from this saturation experience and played oboe in an orchestra and opera company at the University of Cape Town. He was a very important part of my musical career. Even as I was studying medical journals I also read through every page of Grove’s Dictionary of Music; I wanted to learn everything about the subject and I was all over the map musically all the while studying medicine to the hilt as well.”
“I wanted the music, but at the same time I wanted to have a good impact on people who had such terrible medical care in the black townships outside of
Cape Town. As a trainee, I became skilled at re-hydrating scores of patients in our well equipped hospital. They’d walk in looking like death and leave looking pretty well, but then they might die a week later from something as simple as chicken pox or measles or gastroenteritis. I could take care of black people but black medical students were not allowed to see white patients. That was how insane the conditions were there for medical students and doctors then.”
“In the black townships there was an amazing music scene. Though black people were not considered citizens in South Africa, they were given 13% of the land, usually the least arable land and they were only allowed to be in South Africa as workers. The townships were essentially ghetto compounds with thousands of segregated people living just 12 to 15 miles out of town and all of them either walking or taking buses to work in the city every day. In order to go into a township, you had to have papers and report to the police to tell them where you were going and why. I went every week to perform with the musicians and never reported to anyone but I never felt afraid. I knew that my black friends would always take care of me. It was such a police state. I’d go every week, perform in concerts and then take musicians home in my car. Sometimes there would be riots in the township, but they’d put me behind a piano and protect me.”
“I worked in the townships as a doctor as well. As a senior med student I always had the need to do medicine AND music. I always gave equal time to music as I did to medicine. It took a lot of energy, but I had a real NEED to do and have both in my life. I was always totally prepared every day for school and I never crammed. I was a disciplined student by day but also a mad man at night! We had block parties, with music playing all the time and we’d even bring in huge grape trees and have these Bacchanalian orgies! Once we got arrested and I was

“In the black townships there was an amazing music scene.”
taken before the university council! The university issued a public edict that I was not allowed to go to parties!”
“There was this element of desperate gaiety and the flouting of authority in my life but I was always a diligent medical student.”
“I got into the jazz scene in Johannesburg as well through a connection with South African born pianist Chris McGregor who had been playing in a band for the show,”Sponono.” This show followed the groundbreaking jazz opera King Kong, the story of an African boxer who was a tragic hero and this show also spawned a lot of other musicals. Miriam Makeba was in King Kong. Chris also recorded a very important big band
album at the Castle Lager sponsored the area jazz festival . It mixed jazz with Black Township music and documented our unique South African synthesis of the tradition. I had the heady privilege of playing with many of the musicians who were part of this era and this ushered me further into the African jazz experience.
“The music was a hot, heady mixture and some rich white people who’d be, in a certain way, slumming, by inviting us over to their very courtly upper crust houses enjoyed the music and blacks and whites would play together. This was totally illegal. Sometimes I’d sleep over in Soweto which was also illegal but I always felt protected by my relationship with the musicians and the spirit of the music.”
I was a disciplined student by day but also
a mad man at night!
“In 1967, I went to London and there, through my London family, I met Cleo Laine and John Dankworth, two of the big jazz stars of that time. Cleo told me to look up jazz singer Sheila Jordan when I got to New York and after three weeks of phone tag I finally got lucky. She took me under her wing and introduced me to all the jazz greats of the era including Ornette Coleman, George Russell, Jaki Byard, Elvin Jones, Roland Kirk, Jimmy Garrison, Charles Moffet, Ted Curson, Howard McGhee, Booker Ervin, Billy Hart and so many others. I had moved to New York after having taken the medical exams in South Africa and immediately went to work at Bellevue Hospital, Grasslands Hospital and New York Hospital and all the while I was playing at night in clubs like Slugs and the Village Vanguard, The Village Gate, Pooky’s Pub and Musart with many of my newly found jazz friends that Sheila had introduced me to. Some of the people who saw me at the clubs ended up in my care at Bellevue and they wondered if I really knew what I was doing as they’d seen me as a jazz musician the night before!”
“The music was inspiring me so much and I knew that I wanted to learn still more, especially about jazz. Around that time I heard that Gunther Schuller was starting a jazz division at New England Conservatory of Music in Boston, so I applied to the school and after two auditions and letters of recommendation from Bill Evans and Ted Curson, I was accepted in the jazz department. I moved to Boston and I was surprised to find out that although I was a jazz piano major, they had no piano teacher for me! I protested and they asked who I would like to have so I suggested some of the great players I’d heard in New York, like Bill Evans, Oscar Peterson, Hank Jones , Roland Hanna , John Lewis or Jaki Byard.”
“Gunther said ‘OK, we’ll get one of those people for you. In the meantime I studied with classical piano teachers who taught me the correct fingering and hand positions that I’d never learned. I practiced carefully for three months and then the school flew me to New York weekly to study with the great Jaki Byard. After a few weeks, other students heard about this and so the school decided to fly Jaki to Boston on a weekly basis to teach several students at NEC.”
“During my time at NEC I was also holding down positions as a physician at Harvard University Health Services, the student medical center at MIT and I was even the prison physician at Walpole Prison. I also moonlighted at various emergency rooms and in intensive care units. Again, I always needed to
balance the rigors of medicine with those of music. I had a wife and family at this time as well.”
“I put together a band called “Sagov” and it featured trumpeter Stanton Davis and drummer Anton Fig, both classmates at NEC at the time. We opened for Gary Burton at one point and the famous jazz manager and booking agent Ted Kurland offered us a deal to go on the road and record. It was, for the music business, a pretty good deal, but in contrast to the steadiness and security of my medical career and in thinking about my wife and child, it seemed impossible to take the on challenges of touring.”
“I never expected to stay in Boston after my stint at NEC but I found New York to be a ‘cutting contest’ which was very harsh, almost racism in reverse. I was sympathetic to the reason for this, but really preferred the camaraderie of playing with musicians like I had done in South Africa and in Boston. I’m somewhat wistful about those choices now but I feel now like having my high tech studio with all the latest gear enables me to keep my chops up and write music. I now produce about a CD’s worth of music per month in my mini studio, playing all the instruments myself.”
“I’m idealistic about music. Jazz is a bridge between races. Neither could exist without the other. Jazz is a very unique music and rock and roll exists only because of it. It’s a mixture of European influences with sophisticated African rhythms and it’s a discourse, a conversation that is going on that can only happen in the moment, in real time. It’s being open to each other, in a creative context in which everyone is winning.”

“The title of my new CD is Looking Forward to Remembering The Future. That’s what came up with this album . . . it’s music that in a way, compared to music I’ve played, is pretty serene, reflective, drawing on tradition, but still fresh. It’s got its own group feel. It has eclectic openness to all that is in this place, at this moment. The meaning of the title has to do with the fact that by the time you and I know anything, it’s already over. We’re never in the present because it’s already over. We’re operating as if it’s now, but in truth, it’s already over. So, in jazz, we’re remembering that note that’s over and responding to that and the irresistible drive to get to the next moment. Jazz is a sexy mix of head and heart, and in order to experience a bit of now, you have to be impelled by the future oriented momentum of the music. It’s like making love with the other musicians in real time right in front of all of our audience. Nobody really dies in jazz, Miles, Dizzy, Ellington, John Coltrane, Charlie Parker, Louis Armstrong, Thelonious Monk, Bill Evans, they’re all really still so alive in our
passionate resonance to remember them and anticipate and make the next possible musical gesture happen right now!”


STANLEY SAGOV & The Remembering The Future Jazz Band is a bunch of grizzled jazz veterans who never really grew up, still love to play the music and want to share that experience in the moment of creation with YOU!!




JOHN LOCKWOOD
Bassist John Lockwood hails from Capetown, South Africa, has a Bachelor’s
Degree from Berklee College of Music and many years performing with well
known jazz artists such
as Gary Burton, Dance
Umbrella, Donal Fox,
the Fringe, Eddie
H a r r i s , J o h n n y
H a r t m a n , J o e
Henderson, Freddie
H u b b a r d , D a v e
Liebman, Joe Maneri,
T a t e Mo n t o l i a ,
Makoto Ozone, Joe
Pass, Danilo Perez,
Pha r o ah Sande r s ,
Carol Sloane, Clark
Terry, Kenny Werner,
James Williams, and
others. Lockwood
also teaches part time
at Berklee.
With all this experience
and training however,
he says, "I basically
l e a r n e d o n t h e
bandstand. I got called
for these gigs that I
shouldn't have taken, I suppose, looking back. People just
proceeded to shout and scream at me, and that's how I learned . . .
piecing things together. So when I teach it's the same thing. A
student walks in, I teach them the tune, and—bang—we're off. It's
pretty much playing all the time. Once we get into it there's sheets
and things like that, but it's mainly playing and then talking about
concepts. To me, it's the best kind of learning. You learn fast!”
"I want my students out there working and playing actively, the sooner
the better. If they have problems, they can always come back to me with them. But my goal, more than showing them a lot of
different stuff, is to get there out there so they can experience performing in a professional setting. I never think it's too soon
to do that. You're never really ready. You've just got to dive in and hope for the best. You're going to sweat; you're going to
get scared, but you don't learn if you're playing with people who are less than you. I've been thrust into situations—I don't
even know how I got into them—that were way above me. But that kind of pulls you up. You sink or swim.”
"When I'm on the road, a lot of my students come to my gigs. We hang out; it's kind of loose. The great thing is that they're
pretty flexible, so I can make up lessons at any time. Even twelve o'clock at night sometimes. It's crazy, but it works. Some
want more structure, but some like the off-the-wall stuff." the band
John Lockwood photo by Carolyn Sagov, ©2009
MIKE PEIPMAN
Australian trumpeter and flugelhornist Mike Peipman is a coveted jazz sideman, now based in the Boston area. He has
performed with and/or recorded with artists such as The Artie Shaw Orchestra, The Woody Herman Orchestra led by
Frank Tiberi, George Russell, Miki Honeycutt, Mark Harvey, The Jazz Composers Alliance Orchestra, Darrell Katz, Bob
Moses, Red Peters, Eduardo Tancredi, The New England Jazz Ensemble, Sergio Brandao, Darrell Katz, Kris Delmhorst,
Made In The Shade and many others.
Born in Sydney, Mike studied at the N.S.W. Conservatorium
of Music and he played the seasons for “The Wiz” and “Man of
La Mancha” at Her Majesty’s theatre before coming to Boston
to study at Berklee College of Music. Mike has performed on
soundtracks to numerous films such as “Young At Heart,”
“Prefontaine,” “Silver City,” and “Dick Tracy.” He has also
performed at the Parnu Jazz Festival, The Kool Jazz Festival,
The Montreal Jazz Festival, The Toulon Jazz Festival and the
Kyoto Jazz Festival. In addition, he has backed up numerous
artists such as Tony Bennett, Gladys Knight, The Four Tops,
Jerry Vale, Al Martini, Ellis Hall, Cab Calloway and Joel
Gray.
BOB GULLOTTI
Drummer/percussionist extraordinaire Bob
Gullotti leads a band called The Fringe, one of
the legendary jazz groups on the Boston jazz
scene and a four-time recipient of the Boston
Music Awards’ #1 Jazz Act title. With over
fifty recordings to Gullotti’s credit, currently
his own band has a multi-record release
contract with Soul Note Records, one of the
top jazz labels in the world.
A highly successful professional musician,
Gullotti has gained acclaim both in the United
States and abroad for his uniquely creative
interpretive technique and his technical
performance quality. Gullotti has toured
Europe, South America, Australia, Canada, the
Middle East and the United States with his own band and with such well-known jazz artists as Gary Bartz and Eddie
Henderson. Bob has also performed with many, many jazz legends such as J.J. Johnson, John Abercrombie, George Mraz,
Joe Lovano, Kenny Werner, Eddie Gomez, Tom Harrell, Mike Mainieri, Mose Allison, John Medeski, John Patitucci, Bob
Brookmeyer and Miroslav Vitous. He also played with the rock group Phish!
Mike Peipman, photo by Carolyn Sagov, ©2009
In addition, Bob has an extensive teaching background and is recognized as one of New England's top private teachers with
many working professional students. He in on both the faculty of the University of Massachusetts as well as that of Berklee
College of Music and teaches percussion to music majors at other area colleges and universities as well.
Bob has presented lectures and classes at such schools as Dartmouth College, Harvard University, New York University,
Pennsylvania State University, Adelaide Conservatory in Australia, Bogota University in Colombia and Ramon School of
Jazz in Israel. The French Government brought Gullotti to Toulon, France to help organize and operate the "Jazz is Toulon"
jazz camp. He has also lectured and taught at the Switzerland Jazz Workshop and at New York University where he was the
percussionist instructor for the National Young Audiences concert series funded by grants from the National Endowment of
the Arts.
ROBERT DOUGLAS GAY
Saxophonist Robert Douglas Gay is a three-time Boston Music Awards winner in the Outstanding Reeds/Brass category
and was a member of the
‘80s pop/rock group, New
Man. Robert has recorded
with David Bowie, Chaka
Khan, The Bee Gees,
Howa r d J o n e s , Th e
System, Culture Club,
Face to Face, Slick Rock,
Bob Moses and many
others. He was featured on
the Number One Billboard
Hot 100 hit “I’ll Be Your
Everything” by singer/
songwriter Tommy Page
and New Kids on the
Block’s Jordan Knight and
Danny Wood. Gay has
a l s o p e r f o r m e d o n
n ume r o u s l o c a l a n d
national jingles, film scores
and TV theme songs
including Siskel & Ebert’s
“At The Movies.” Gay is
also currently a member of Boston’s Velveteen Playboys.
Robert Douglas Gay, photo by Stanley Sagov, ©2011
WANNETTA
JACKSON
Wannetta Jackson is one of
Boston’s treasured queens of
soul and jazz. She is known
for her definitive tributes to
Aretha Franklin, which was
premiered at the Charles
Playhouse in 1986 and later
at one of the Boston Globe
J a z z F e s t i v a l s . I n
conjunction with the Charles
Playhouse event, The Gap
used Wannetta's image as
she performed an Aretha
tune dressed in the Gap's
leather jacket and jeans. A
stunning ad and matching
poster were designed using
the photography of noted
Boston photographer John
Goodman. This image was
seen all around Boston, in
advertising in the Boston
Globe and The New York Times.
Ms. Jackson came to Boston in 1975 to study at Berklee College of Music. Since then, she has been featured at every major
venue in the Boston area as well as, The Boston Globe Jazz Festival in 1986 and again in 1990 when she opened for Pat
Metheny, Herbie Hancock, Dave Holland and Jack DeJohnette. To a festival audience of more than 40,000 people,
Wannetta sang a tribute to Aretha Franklin and received stellar reviews. She returned to be featured at the festival in 1994
when she performed with the band In Our Time. She has also been featured at Scullers Jazz Club, The Regattabar, Dimock
Community Health Center's annual fundraiser Steppin' Out, and as a special guest at the John Coltrane Memorial Concert
in 2000.
Born and raised in Milwaukee, Wisconsin, Wannetta started singing with her church choir at the age of 5 and by the age of
14, she was performing with a 40 member professional group. By 16, she had a band of her own.
Wannetta has been the recipient of numerous awards, most notably the Boston Jazz Society Award of Recognition in 1988
and the Berklee College of Music Alumnae 50th Anniversary Medallion.
Wannetta is a humanitarian at heart. The Boston AIDS Action Committee presented Wannetta at the Hatch Shell
Walkathon for AIDS to a crowd of more than 10,000. She also performed the Star Spangled Banner live at Boston Garden
for the Boston Celtics game.
Ms. Jackson has also recorded voice-overs for Sesame Street and appears on the recordings In Our Time, A Child Is Born,
and Voices in Covenant-Jesus Is The Cure.
After her performance in tribute to Aretha Franklin, The Boston Globe stated “Wannetta Jackson’s tribute to Aretha
Franklin earns our respect.” The Boston Herald wrote “Jackson’s way with a lyric is always intelligible and solid.” Then,
Boston Magazine featured Ms. Jackson in their famous “Faces To Watch” series.
Wannetta Jackson, photo by Sue Auclair, ©2011


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