{"value"=>"<p>New Jazz at the Public was initiated in March of 1978, as a forum for contemporary jazz. The first program coordinator for New Jazz was Andrew Plesser, who held the position from 1978 to 1981. Nancy Weiss (later Nancy Weiss Hanrahan) served as program coordinator from 1981 until 1987.</p> <p>From 1978 until 1987, the New Jazz series highlighted contemporary jazz musicians and \"new jazz\" performers. New Jazz at the Public presented over 200 performances during the years it was active. Among the musicians who performed there were: Pat Metheny, Steve Lacy, Chico Freeman, Archie Shepp, Jaki Byard, Don Pullen, Betty Carter, Carla Bley, Muhal Richard Abrams, Abdullah Ibrahim, Lester Bowie, Leroy Jenkins, Gil Evans, Henry Threadgill, Cecil Taylor, John Zorn, Jack DeJohnette, Sun Ra, Papa Zaka, and Milton Cardona.</p> <p>In the 1980's, programming began to focus on special events which would highlight jazz as an art form. The number of shows was reduced, so that concept shows and concerts could be accommodated. Programming in 1983 included <span class=\"title\">Conjure: Music for the Texts of Ishmael Reed</span>, and a program of jazz from the Soviet Union. In 1984, New Jazz presented a musical theater piece <span class=\"title\">33 Scenes on the Possibility of Human Happiness</span>, composed by Henry Threadgill, and a concert by the Vienna Art Orchestra; and in 1985 both Jay McShann and John Carter were commissioned to create works for performance at the Public. While jazz remained a focus, the program sought to incorporate a wide range of musical styles and different presentations. Program funders included the National Endowment for the Arts, the New York State Council on the Arts, and Meet the Composer.</p> <p>The records of New Jazz at the Public span the years 1978 to 1986 and include correspondence, program files, press releases, flyers, fundraising files, clippings, box office reports, financial information and contracts. The records reflect the efforts of both Andrew Plesser and Nancy Weiss to bring the best of the contemporary or \"new music\" to the Public, in a time when jazz performance space was limited in New York City. Their correspondence with funders and musicians and their memos to Joseph Papp reflect some of the decisions involved in selecting artists, raising funds and keeping a sense of purpose in the programming.</p>"}