Jaijai Jackson grew up in the music business, daughter of the late "Chubby Jackson" famed jazz legend bassist, inventor of the five string bass, TV kiddie-show host, writer, composer and is darn proud to be. At the age of six, she danced and performed on her Dad's television show, felt the pulse of the business and was determined to express her mark as a "Jackson".
After the many plays and chorus's she explored through high-school, she then moved to California for the "bright lights", Jaijai chose to learn the business from the "business end" and soon found herself, running a recording studio, doing voice-overs, booking acts and represented 27 jazz musicians at one time through a family booking agency.
She then chose to work for the biggest "big band agency" in New York City, as "right arm" to Willard Alexander, of the Willard Alexander Agency. (Learned from the best) In the interim working at the agency and coordinating tours for Count Basie, Buddy Rich, Tommy Dorsey Orchestra, Harry James, Maynard Ferguson, and many other well-known bands and individual jazz artists she learned the game.
Jaijai left Willard's office and persued performance, first engagement was at Madison Square Garden and prestigious venues all throughout England (ie. Royal Festival Hall), Scotland and Wales with the Buddy Rich Band! Her sincerest efforts became an integral part of the benefit performance as Associate Producer of "A Celebration of Music" for the late Buddy Rich at Carnegie Hall, in association with Executive Producer Cathy Rich and the JVC Jazz Festival, it was an amazing experience.
Soon after back in California, she collaborated with her father in compiling a catalogue of all original music videos of the 30's and 40's distributed by a Disney owned television/film distribution company, International Creative Exchange, lead by Olivier de Courson who was responsible for launching the Disney Channel this experience afforded Jaijai the opportunity to learn domestic and international TV/Film distribution/co-productions, coordination and foreign licensing of product.
Moving forward in her aspirations of the entertainment industry, Jaijai assisted the Sr. VP of Bookings for the special events being presented at the Pantages Theatre, Greek Theatre and the Pacific Amphitheater for the Nederlander Organization in Hollywood, CA.
NAMM (National Association of Music Merchants) in Carlsbad, CA commissioned Jaijai to produce the opening of the "Making of Music Museum" where more than 2500 people attended and also where her father's two basses had resided for the past few years.
Jaijai collaborated with major corporations through various production companies from conceptual ideas to full on production of events and entertainment direction.
Jaijai aka "Woman of Jazz" on internet radio presented a jazz show built on launching new artists, providing interviews and radio promotion as well as presenting seasoned veteran musician's providing advice for the new up-and-coming jazz musicians that are worthy of worldwide recognition through produced "jazzfomercials". She will soon be launching THE JAZZ NETWORK WORLDWIDE radio station spotlighting the artistry in her Jazz Network.
Jaijai's passion is all about supporting the next phase of new artists on the scene and prides herself on keeping her jazz heritage alive by being the originator of the social network setting entitled "The Jazz Network Worldwide" as her next step in promoting jazz and its artistry.
Jaijai looks forward to bringing her marketing expertise to artists in jazz and to show affordable ways to promote themselves to their fans and to the world through various media outlets. Stay tuned!! The best is yet to come!!
She is the original creator of The Jazz Network Worldwide 'the one and only" and extremely proud of its success...its been a lot of work and my passion is driven by seeing how all of its members are joining forces to keep jazz alive. :-) I see that many saw the potential of my "little brainchild" and created sites very similar to mine...its been said that "imitation is the sincerest form of flattery", thank you! I commend them on their originality. :-)
"The measure of a musician is their body of work. It's what seperates the men from the boys.
Credentials --- the company you keep. It takes time, opportunity, and in the end-real talent do such a thing. You have to put in many thousands of hours--you can't fake the funk.
What makes a body of work? Twenty years with both The Temptations and The Four Tops. Like a rock.
Having worked with a list of artists so deep, (Google it) from so many genres, that suddenly it hits you--TIM GORDON is one of those players--one of the clutch, go to saxophonists in contemporary music.
Dedicated to his art, Tim is a connoisseur-level musician. His dedication is apparent when you hear his sound. And suddenly it hits you again--you've probably heard him before, maybe even seen him along your musical journey.
SOULFUL, hip-smart, and technically brilliant. What else could you ask of a saxophone player?
Encyclopedic range, comfort with any kind of music, and besides all that? He's a real nice guy.
You're in for a real treat here. Tim Gordon has finally made a record of his own.
Many music educators teach students who are both gifted and possess a learning disability—what is commonly referred to as "twice exceptionality." This article describes some characteristics of twice-exceptional students, the challenges these students often face in school, and some strategies music educators can use to properly differentiate instruction and curricula. The strategies offered include highlighting strengths and mitigating areas of challenge; emphasizing integrative thinking and deemphasizing dispersive thinking; allowing students flexibility of choice; overtly teaching organizational skills, self-regulation, and compensation strategies; and building relationships. While the differentiation strategies suggested are specifically for twice-exceptional students, they can benefit all students.
The January 1970 Music Educators Journal’s "Special Report: Facing the Music in Urban Education" included the article "Recommendations for Teacher Education Programs." This article contained seven recommendations to prepare successful future urban music educators. As two urban music educators, we examine how MEJ authors have since addressed these recommendations. We offer suggestions for preservice and in-service music educators, as well as music teacher educators.