Pursuant to online debates about whether grants and fellowships are good for jazz — here’s a report on the non-profit Meet the Composer‘s choice of 31 recipients for $300,000 towards realization of commissions. Only one jazz-related project among them: composer-guitarist Joel Harrison, commissioned by the Brooklyn-based organization Connection Works, to write for a large ensemble. However, three principals of the new music collect Bang on a Can, as well as celebrated veteran composers Meredith Monk and Steve Reich, and the music theater artist Stew (“Passing Strange,” Spike Lee’s movie of which is scheduled for mid-August release) are grants winners.
If it’s not so good when jazz artists vie for grants (the contention is they’re required to look past their true jazz instincts to conceive application-suitable projects), how do we like it when they’re almost completely out of the running?