Jazz Foundation of America Presents: Phil DeGruy

Wednesday, September 28, 2022 - 2:00pm

New Orleans Jazz Museum

400 Esplanade Avenue
New Orleans, LA 70116

Located at the foot of Esplanade Avenue, the New Orleans Jazz Museum, located in the Old U.S. Mint, is a national historic landmark that is part of the Louisiana State Museum system.

The New Orleans Jazz Museum is strategically located at the intersection of the city’s French Quarter and the Frenchmen Street live music corridor. The Museum celebrates the history of jazz, in all its forms, through dynamic interactive exhibits, multigenerational educational programming, research facilities, and engaging musical performances. For further details, visit NOLAjazzmuseum.org.

You can hear great music from some of New Orleans’ best contemporary artists in the state-of-the-art performance venue on the New Orleans Jazz Museum’s third floor. The Museum uses the space for evening programs, solo and small group concerts and special events while the New Orleans Jazz National Historic Park offers daily live music programs for local residents and visitors to the Museum. Learn more and find a calendar of events at MusicAtTheMint.org

Status: 
Active

Upcoming Shows

The Jazz Foundation of America & NOLAxNOLA present a performance featuring Philip DeGruy on Wednesday, September 28th at 2:00 PM CDT. This program takes place inside our third-floor Performance Center, listening room. Admission is free and open to the public, seating is limited and offered first come, first serve. Enjoy jazz music from home with the New Orleans Jazz Museum! Join the Jazz Museum online for our daily Live-Stream Concert Series, in which dynamic jazz musicians perform live from the Jazz Museum! Tune in at 2 pm on facebook.com/nolajazzmuseum/live to watch for free. After falling under the spell of Chet Atkins, Phil DeGruy a native New Orleanian, began his tenure with jazz great Lenny Breau in 1976. By the early '80s, DeGruy began plucking an electric guitar behind its bridge and was compelled to incorporate that sounds into his music. Hank Mackie, Phil's extraordinary teacher, suggested fashioning the harp strings to sit on the guitarp's body where the pick guard would be located, thereby extending chord voicings in one motion and evoking the illusion of a "limitless" guitar, turning a sad chord into a tragedy, a happy chord into bliss, and thereby enabling the juxtaposed variations of both.

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