“William Parker is something of a father figure.” 
     — Larry Blumenfeld, New York Times
“One of the 50 Greatest New York Musicians of All Time”
     — Time Out New York
Launching a new series of music and cultural discourse at the Atlas Industries building in Newburgh, NY, Jazz at Atlas is proud to present the legendary bassist, composer and bandleader William Parker and the ensemble Evidence Of Everlasting Beauty. The band features Cooper Moore on piano, Daniel Carter on reeds, trumpet and flute, Steve Swell on trombone and Mr. Parker on stringed instruments. Evidence Of Everlasting Beauty will perform on Saturday, May 20 at 8 PM. Admission will be $20 at the door.
All programs will take place at the Atlas Industries building located at 11 Spring St. in Newburgh, NY. Ample onsite parking is available.
Jazz at Atlas is a cooperative project of writer, musician and multimedia artist James Keepnews, and music researcher, radio host and producer Ben Young. Along with presenting performances by world-renowned creative musicians, JAA will also be offering listening sessions, dialogues with artists and classes covering the entire spectrum of creative music in all its varied manifestations around the world and throughout its history.
Upcoming JAA concerts include:
Friday, July 28 — Joe Lovano: “In the Moment of Now— Trio Fascination
Thursday, September 12 — Tim Berne’s Snakeoil: featuring Oscar Noriega, Matt Mitchell and Ches Smith
Upcoming JAA classes include:
Introductory open session — Thursday May, 18 at 6:30.
Jazz 101 — a free 8-week course beginning May 25 and running weekly every Thursday through July 13 from 6:30-8:30 PM.
Please follow Jazz at Atlas on Facebook: https://www.facebook.com/Jazz-at-Atlas-437672509911654/
Jazz 101 is an eight-week listener’s introduction to Jazz music, as heard through century of Jazz history. The course is designed for absolute newcomers—demystifying in simplest terms how the music works and how it has evolved. Jazz 101 is suitable for adults as well as middle-school and high-school students.  The course has no test, no homework, no entrance exam, and, in this offering, has no admission fee; just bring your ears! The course has been offered for more than a decade at Jazz at Lincoln Center, and is now being piloted outside of New York City.
William Parker is a bassist, improviser, composer, writer, and educator from New York City. He has recorded over 150 albums, published six books, and taught and mentored hundreds of young musicians and artists.
He has been called “one of the most inventive bassists/leaders since [Charles] Mingus,” and “the creative heir to Jimmy Garrison and Paul Chambers…directly influenced by ‘60s avant-gardists like Sirone, Henry Grimes and Alan Silva.” The Village Voice called him, “the most consistently brilliant free jazz bassist of all time” and Time Out New York named him one of the “50 Greatest New York Musicians of All Time.”
Parker’s current active bands include the large-band Little Huey Creative Orchestra, the Raining on the Moon Sextet, the In Order to Survive Quartet, Stan’s Hat Flapping in the Wind, the Cosmic Mountain Quintet with Hamid Drake, Kidd Jordan, and Cooper-Moore, as well as a deep and ongoing solo bass study. His recordings have long been documented by the AUM Fidelity record label and on his own Centering Records, among others.
Over the decades, Parker has developed a reputation as a connector and hub of information concerning the history of creative music, recently culminating in a two hefty volumes of interviews with over 60 avant-garde and creative musicians, Conversations I & II.  He is also the subject of an exhaustive 468-page “sessionography” that documents thousands of performances and recording sessions, a remarkable chronicle of his prolificness as an active artist.
He has been a key figure in the New York and European creative music scenes since the 1970s, and has worked all over the world.  He has performed with Cecil Taylor, Don Cherry, Peter Brotzmann, Milford Graves, Peter Kowald, and David S. Ware, among many others.
William Parker works all over the world but he always returns to New York’s Lower East Side, where he has lived since 1975.
As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 40 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 – the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware’s name in 1979. Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn’t play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore’s pianistic gifts were again regularly featured in the jazz context. In the early ‘aughts the group Triptych Myth was his own first regular working jazz group in decades and released two albums. Cooper-Moore’s creative life continues well-strong and unabated into the present day.
Daniel Carter: One of the legendary masters of creative music. Born in Wilkinsburg, Pennsylvania in 1945. He has performed or recorded over the past three decades with such artists as: Sun Ra, Cecil Taylor, Billy Bang, William Parker, Roy Campbell, SabirMateen, Sonic Youth, Simone Forti, Joan Miller, Thurston Moore (Sonic Youth), NayoTakasaki, Earl Freeman, Dewey Johnson, Nami Yamamoto, Matthew Shipp, Billy Martin, John Medeski, Wilber Morris, Denis Charles, MMW (Medeski, Martin, & Wood), Vernon Reid (Living Colour), Options, Spring Heel Jack, Yo La Tengo, Federico Ughi, RaphéMalik, Sam Rivers, Sunny Murray, HamietBluiett, Bob Moses, JacoPastorius, Enrico Rava, David S. Ware, Steve Swell, Matt Lavelle, Karl Berger, Don Pate, Gunter Hampel, David Grubbs, the No Kneck Blues Band, Alan Silva, Susie Ibarra, Steve Dalachinsky, D.J. Logic, Margaret Beals, Douglas Elliot, Butch Morris, TEST, Other Dimensions In Music, One World Ensemble, Saturnalia String Trio, Levitation Unit, Wet Paint.
Steve Swell, born in Newark, New Jersey, has been living, working and performing in New York City his entire adult life. In the mid-seventies he studied with Roswell Rudd, Grachan Moncur III and Jimmy Knepper after attending Jersey City State Teacher’s College. He’s toured and recorded with such diverse jazz personalities as mainstreamers Lionel Hampton and Buddy Rich, to so-called outsiders like Anthony Braxton and Jemeel Moondoc. Swell has 40 recordings as a leader or co-leader and is a featured artist on more than 100 other releases. His CD, “Suite For Players, Listeners and Other Dreamers”, recorded on the CIMP label, was ranked number 2 in the 2004 Cadence Readers Poll. He received grants from USArtists International in 2006, a program of the National Endowment for the Arts, an MCAF award (LMCC) in 2008 & 2013 and was commissioned for the Interpretations Series at Merkin Hall in 2006 and again in 2012 at Roulette. Steve is well known for his many collaborations with Cecil Taylor, Bill Dixon, Alan Silva, William Parker, and his many projects including “Slammin’ The Infinite” with Sabir Mateen, The Ullmann/Swell 4tet featuring Barry Altschul, “Fire Into Music with Hamid Drake and his large ensemble, Nation Of We. He was the Jazz Journalist’s Association Trombonist of the Year nominee for 2008 & 2011, named Trombonist of the Year 2008, 2009, 2010 & 2012 by El Intruso, an Argintinean Jazz journal and selected for the 2010, 2011, 2012 & 2013 Downbeat Critics Poll in the Trombone category. Steve is a Teaching Artist in the NYC public school system working with special needs children and was awarded the 2008 Jubilation Foundation Fellowship Award of the Tides Foundation for recognition of that work.
James Keepnews is a musician, writer and multimedia artist. He received a degree in English from Hamilton College and attended the electronic arts MFA program given by iEAR Studios at Rensselaer Polytechnic Institute. As a musician and composer, he has performed and/or recorded with such artists as George Lewis, Joe McPhee, William Parker, Karl Berger, Daniel Carter, Charles Gayle, Kidd Jordan, Roy Campbell, Tony Malaby, Hamid Drake, Jason Kao Hwang’s Spontaneous River, Ras Moshe, Matt Lavelle, Holland Hopson, The New York Chapter of Crafty Guitarists, Chapter Two, The New York Guitar Project, Brown Cuts Neighbors, Blown Woofer and Lick the President. He has developed and performed with improvised computer-interactive video systems at The Kitchen, Bard College and other venues. His writing has appeared in Chronogram, New Haven Advocate, Bass Guitar, Fairfield Weekly, Metroland, The Squid’s Ear and Reign of Toads. He lives in Beacon, NY.
Ben Young is a jazz scholar and educator, heard for 20 years as a radio host on WKCR-FM in New York City. He has produced, annotated and/or researched several hundred historical jazz reissues, alongside a small number of monographs and articles documenting essential figures of the New York avant garde. Since 2009 he has been a staff lecturer in the Swing University program at Jazz at Lincoln Center.