The exhibition is made possible by The David Berg Foundation; The al-Sabah Collection, Kuwait; the Sherman Fairchild Foundation; the William S. Lieberman Fund; The Polonsky Foundation; Diane Carol Brandt; The Andrew W. Mellon Foundation; the Ruddock Foundation for the Arts; and Mary and Michael Jaharis.

Additional support is provided by the National Endowment for the Arts.

Jerusalem 1000–1400: Every People Under Heaven is the first exhibition to unravel the various cultural traditions and aesthetic strands that enriched and enlivened the medieval city. The exhibition will feature some 200 works of art from 60 lenders worldwide. More than four dozen key loans come from Jerusalem’s diverse religious communities, some of which have never before shared their treasures outside their walls.

Exhibition Overview

The exhibition will examine six specific factors that made medieval Jerusalem an exceptional source of artistic inspiration:

The Pulse of Trade and Tourism: Often understood as the crossroads of the known world, Jerusalem was a thriving urban center, teeming with locals and tourists, new arrivals and long-timers, merchants and artists, soldiers and scholars. The exhibition will evoke the many wares of the marketplace, including ceramics produced locally and imported from as far away as China. Textiles on view will reconstruct the fashion sensibilities of Jerusalem’s residents, including, surprisingly perhaps, their predilection for printed cottons from the Indian subcontinent. The shared taste of the region’s wealthy inhabitants confounds efforts to distinguish the owners’ identities, let alone their ethnic or religious heritage. Jewels that are recognizably Islamic in technique correspond to contemporary descriptions of the trousseaux of Jewish brides. A remarkable gathering of Cross reliquaries speak to the links between Jerusalem and Europe.

The Diversity of Peoples: Dozens of denominations and communities contributed to the artistic and spiritual richness of the city. The historical record surrounding medieval Jerusalem—a “city of foreigners”— includes both harmonious and dissonant voices from many lands: Persians, Turks, Greeks, Syrians, Armenians, Georgians, Ethiopians, Indians, and Europeans from each of the Abrahamic faith traditions passed in the narrow streets of the city—not much larger than midtown Manhattan. Visitors will be astonished, for example, by the numerous distinct alphabets and different languages of prayer. Exemplifying this will be Christian Gospel books in Arabic, Greek, Armenian, and Syriac, a Samaritan Bible in a distinctive Hebrew script, and the biblical book of Kings in Ge’ez, the language of Ethiopia, given by that land’s king to his community in Jerusalem.

The Air of Holiness: The exhibition will attempt to evoke the city’s sacred iconic monuments, with their layered history and shared spaces. Though Jerusalem can appear eternal, it has undergone enormous change. Seemingly immutable elements of Jerusalem’s sacred topography were understood differently in this period. Medieval maps show us that Christians understood the Muslim Dome of the Rock and the Aqsa Mosque to be the Ancient Temple and the Palace of Solomon, respectively. Manuscripts and rare documents demonstrate that medieval Jewish pilgrims focused most of their attention on the city’s gates and the Mount of Olives, rather than the Western Wall.

Among the highlights of this section are five sculpted capitals from the Church of the Annunciation in Nazareth belonging to the Franciscan Community of Jerusalem. These pristinely preserved works, unearthed at the beginning of the 20th century, powerfully demonstrate the skill and imagination of the sculptors and the dramatic relationship between faith and art during the brief but exceptionally fertile Crusader period. Met conservator Jack Soultanian has prepared them for exhibition; this is the first time the ensemble has left Nazareth.

The Drumbeat of Holy War: Intimately bound with the belief in Jerusalem’s sanctity and the sense of exclusive ownership it instilled is the ideology of Holy War. This period witnessed the intensification of both crusade in Christianity and jihad in Islam. The exhibition offers an important opportunity to present these concepts, so charged in our own day. Art was recruited to justify war, presenting it as beautiful and divinely sanctioned. A manuscript depicting weapons created for the great Islamic warrior Saladin presents them as exquisite goldsmith’s work while a sculpted effigy (newly-cleaned for the exhibition) depicts a French nobleman as a crusader in full battle armor for eternity.

The Generosity of Patrons: The exhibition will introduce visitors to some of the real men and women who altered the aesthetic landscape of the city. The name of Melisende, the Frankish-Armenian Queen of Jerusalem, is linked to a celebrated Psalter, which will be presented as a larger witness to her activity as a patron of churches and scriptoria. An unprecedented gathering of luxury metalwork will evoke the patronage of Al-Nasir Muhammad ibn Qala’un; this dazzling display appropriately conjures up the munificence of this most important Mamluk patron of Jerusalem.

The Promise of Eternity: Finally, this is the first exploration of art that springs from the belief, common to Judaism, Christianity, and Islam, that Jerusalem stands at the gates of heaven. The exhibition will include masterpieces of Persian illumination that bear witness to the key role of the Holy City in the life of Muhammad and in the Muslim faith tradition. Alongside these will be Hebrew manuscripts in which the glittering implements of the Temple symbolize the longing for redemption. An imposing jeweled shrine represents the Heavenly Jerusalem as Christian imagined it.

Credits

The exhibition represents a collaborative partnership between Barbara Drake Boehm, the Paul and Jill Ruddock Senior Curator for The Met Cloisters, and Melanie Holcomb, Curator, Department of Medieval Art and The Cloisters. Exhibition design is by Michael Langley, Exhibition Design Manager; graphics are by Morton Lebigre and Ria Roberts, Graphic Designers; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of The Met Design Department.

Catalogue and Related Programs

A lavishly illustrated catalogue appropriate for specialists and general readers alike will accompany the exhibition. More than fifty scholars from the United States, Europe, and the Middle East have contributed to the catalogue. Published by The Metropolitan Museum of Art and distributed by Yale University Press, the book will be available in The Met Shop (hardcover, $75.).

The catalogue is made possible by The Andrew W. Mellon Foundation; the Michel David-Weill Fund; Tauck Ritzau Innovative Philanthropy; the Ruddock Foundation for the Arts; Christopher C. Grisanti and Suzanne P. Fawbush; and Helen E. Lindsay.

An audio tour, part of The Met’s Audio Guide program, is available for rental ($7, $6 for Members, $5 for children under 12).

The Audio Guide is supported by Bloomberg Philanthropies.

The exhibition will be accompanied by a variety of education programs at The Met Fifth Avenue. Exhibition tours will be offered throughout the run of the exhibition. A Family Afternoon on the theme of “Daily Life in Jerusalem” and a Met Escapes gallery tour for visitors with dementia and their care companions will also take place.

Education programs are made possible by the William S. Lieberman Fund.

Adam Gopnik, critic-at-large at The New Yorker, will be joined by scholars, historians, and other thought leaders in a stimulating discussion series called “Imagining Jerusalem: The Golden City in Art, Lore, and Literature.” Topics to be explored include the city’s many images, poetic uses, and spiritual reverberations. Additional information is available at metmuseum.org/gopnik.

The oratorio Al-Quds: Jerusalem by celebrated American composer Mohammed Fairouz was commissioned by MetLiveArts for the exhibition. Including poetry by Naomi Shihab, the world premiere will be performed on Friday, December 9, by the Grammy-nominated Metropolis Ensemble (Andrew Cyr, conductor). Tickets start at $65.

A previously planned event, “Feast of Jerusalem”—two nights of inspired conversation and Hafla (family-style feast) in the Museum’s Petrie Court Café on Friday and Saturday, November 18 and 19, with cookbook authors Laila el-Haddad and Maggie Schmitt (The Gaza Kitchen: A Palestinian Culinary Journey) and chef and restaurateur Yotam Ottolenghi (co-author with Sami Tamimi of Jerusalem: A Cookbook)—is sold out.

And, at The Met Cloisters, the vocal ensemble Schola Antiqua of Chicago will perform the sacred repertoire of Jerusalem: Georgian and Armenian hymns; cantorial psalms; Sufi devotional music; and Jewish, Christian, and Muslim calls to prayer. The program, “The Suspended Harp: Sounds of Faith in Medieval Jerusalem,” will take place on Sunday, October 23, at 1 and 3 pm. Tickets start at $40.

“Imagining Jerusalem: The Golden City in Art, Lore, and Literature,” “Feast of Jerusalem,” and “The Suspended Harp: Sounds of Faith in Medieval Jerusalem” are made possible by the William S. Lieberman Fund.

Al-Quds: Jerusalem is made possible by the Doris Duke Foundation for Islamic Art, Sarah Billinghurst Solomon, and the William S. Lieberman Fund.

The exhibition will be featured at www.metmuseum.org, as well as on Facebook, Instagram, and Twitter via the hashtag #MetJerusalem.

# # #
Updated August 19, 2016

Image: The Archangel Israfil (detail), from The Wonders of Creation and Oddities of Existence (‘Aja’ib al-Makhluqat) by al-Qazwini (1202–1283). Egypt or Syria, late 14th–early 15th century. Opaque watercolor and ink on paper. British Museum, London. © The Trustees of the British Museum

Press Contacts
Michelle Perlin
212.590.0311, mperlin@themorgan.org
Patrick Milliman
212.590.0310, pmilliman@themorgan.org
George Richmond (1809–1896), Charlotte Brontë, chalk,
1850. © National Portrait Gallery, London.
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“With Jane Eyre, Charlotte Brontë introduced one of the strongest—and most unforgettable—heroines in all literature,” said Colin B. Bailey, director of the Morgan. “Brontë herself was uncommonly ambitious, pursuing literary fame in a maledominated profession and insisting that her work be judged on its own terms. The Morgan is very pleased to be able to tell her remarkable story and to explore her legacy in this important exhibition.”

THE EXHIBITION
I. Home
Charlotte Brontë, the daughter of an Anglican clergyman,spent most of her life in the village of Haworth in West Yorkshire. Her mother and two eldest sisters died when she was young. The surviving children—Charlotte, Branwell, Emily, and Anne—began writing poems and stories before they reached their teens and formed their own creative community in a home where reading and play were intimately intertwined. An unfinished oil painting, begun by Branwell when he was about seventeen, is on view in the exhibition and features his three sisters together. It is the only surviving Brontë family portrait and among the icons of London’s National Portrait Gallery.

A drawing that was found tucked inside Charlotte Brontë’s school atlas depicts a stone cross—one of several that dot the West Yorkshire moors, windswept expanses that erupt in purple when the heather blooms in late summer. Haworth parsonage, the Brontë family’s home and now the site of the museum from which many of the artifacts in the exhibition derive, faced the church and village, while the rear of the house looked onto open moorland. The children took frequent rambles across the dramatic landscape that Emily Brontë would conjure so memorably in Wuthering Heights.

Top: Charlotte Brontë (1816–1855), Jane Eyre, An Autobiography, manuscript, 1847. © The British Library Board, Add. MS 43475, f.176. Middle:
Branwell Brontë (1817–1848), Portrait of Anne, Emily, and Charlotte Brontë, oil on canvas, ca. 1834. © National Portrait Gallery, London. Bottom: Stone
Cross on the Yorkshire Moors, watercolor drawing, undated, found inside Charlotte Brontë’s school atlas and possibly her own work. The Morgan Library
& Museum. Photography by Graham S. Haber.
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II. Imagination
Long before Brontë became a published writer, she was an avid reader. She and her siblings
read John Bunyan, John Milton, Walter Scott, Aesop, Lord Byron, the Arabian Nights’
Entertainments, and the Bible. They read about history and politics; they loved Blackwood’s
Edinburgh Magazine with its mix of fiction, poetry, satire, and criticism. And, of course, they
played. For young Charlotte, Branwell, Emily, and Anne, there was no rigid line dividing life from
art. Their reading fueled their games; their games informed their writing; their drawings enhanced
their stories.
The selection of juvenilia presented in the exhibition highlights the whimsy and imaginativeness of
Brontë’s production. On view will be her earliest surviving manuscript, a tiny handmade booklet,
illustrated with watercolor drawings, that presents the story of a little girl named Anne who goes
on an exciting journey. Brontë wrote it when she was about twelve.
In 1826, Brontë’s father, Patrick, brought home a new set of toy soldiers and each of his children
claimed a favorite. They acted out plays and imagined a whole world in which the Young Men (or
The Twelves), as they dubbed them, lived, fought, and loved. The children took turns
documenting the characters’ exploits in a web of handwritten stories, poems, and histories. They
kept their manuscripts small—in appropriate scale for a band of toys—imitating the printed text
they saw in newspapers and pocket-size books.
One such example is young Charlotte’s The Poetaster: A Drama by Lord Charles Wellesley,
written in minuscule print in a tiny handmade notebook. When she wrote this satiric play, which
derives its title and theme from a 1601 work by Ben Jonson, the fourteen-year-old Brontë was
Left: Charlotte Brontë (1816–1855), Story beginning “There once was a little girl and her name was Ane [sic],” Brontë’s earliest surviving miniature
manuscript book with watercolor drawings, ca. 1828. Brontë Parsonage Museum. Right: Charlotte Brontë (1816–1855), Lycidas, watercolor
drawing, March 4, 1835, copied from a print after painting by Henry Fuseli. Brontë Parsonage Museum.
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already considering what it takes to be an artist. Is it inspiration, hard work, or something in
between? In her play, two pretentious poets consider the issue. She designed a title page that
mimicked printed type and declared that the book was “published by no one, possessed by
everyone” and sold by booksellers in Glass Town, the principal city in her fictional federation.
The teenage Brontë also delighted in drawing, and like many young women of the day she was
taught to copy from prints rather than sketch from nature. Among the drawings presented is a
watercolor she made after studying and teaching for several years at the Roe Head school,
where she had received formal art instruction. She copied a print after a painting by Henry Fuseli
that depicts the grieving shepherd of Milton’s elegy Lycidas, a poem she likely knew well. The sex
of the figure, decidedly male in Fuseli’s version, is more ambiguous in her rendering, and the
color treatment is entirely her own, as she had access only to a monochrome version.
III. Work
When Brontë created Lucy Snowe, the teacher who narrates her 1853 novel Villette, she gave
her the most viable occupation for an unmarried middle-class woman of her era. She could teach
in a school or a private home, or—if she was lucky and entrepreneurial—run her own
establishment. For Brontë herself, writing was the most desirable employment, but she knew she
had to earn a living.
Brontë was fourteen when she began the first of her three terms of study at the Roe Head school,
about twenty miles from home. The boarding school for girls offered a curriculum that included
language, history, geography, arithmetic, French, music, and drawing. When she arrived in 1831,
she filled a sketchbook (later separated into individual sheets) with exercises copied from a
Left: Charlotte Brontë (1816–1855), The Roe Head School, conté crayon drawing, ca. 1831–32, inscribed by Patrick Brontë By my D[ea]r
Daughter Charlotte / P Bronté Min[iste]r
of Haworth. Brontë Parsonage Museum. Right: Charlotte Brontë (1816–1855), Study of Noses,
pencil drawing, ca. February 1831. Brontë Parsonage Museum.
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drawing manual. Students followed a rigid method that prescribed a measured grid, visible in
Brontë’s study of noses which is on view in the exhibition. From there, she progressed to copying
landscapes and flowers. At school, Brontë acquired the skills required of a governess but she
lacked the requisite temperament to succeed in the profession.
In 1836, when she was nineteen, Brontë returned to the Roe Head school as a teacher. Though
she had thrived as a student and made several lifelong friends there, she chafed in her new role.
A few years later she took a short-term position as a governess in a private home, caring for what
she called the “riotous, perverse, unmanageable cubs” of the Sidgwick family. With the financial
support of an aunt, Brontë and her sister Emily went to Brussels in 1842 to study and improve
their teaching credentials. They returned home for their aunt’s funeral a year later, but Charlotte
went back to Brussels to continue her studies with her inspiring teacher, Constantin Heger. After
the sisters’ half-hearted attempt to open a small school in the parsonage failed in 1844, Brontë
abandoned her teaching career.
IV. Writing
When Brontë was twenty, she wrote to Robert Southey, England’s poet laureate, confessing her
aspiration to be “for ever known” as an author. Her inexperience, gender, and obscurity posed
significant obstacles to that ambitious goal. Nevertheless, in 1846, she and her sisters Emily and
Anne self-published a book of poems.
Brontë spent a year shopping around her first novel, The Professor, until she found a publisher,
George Smith, who took an interest. The twenty-three-year-old publisher had just begun to
manage his father’s London firm, and while he was not prepared to accept The Professor, he
asked for the chance to review her next manuscript. Within weeks, she gave him Jane Eyre. The
novel was issued in the three-decker format that was popular in the nineteenth century, bound in
cloth with a simple blind-stamped design and gold lettering on the spine. “You have given the
work every advantage which good paper, clear type and a seemly outside can supply,” she told
Smith upon receiving her first six copies. “If it fails – the fault will lie with the author – you are
exempt. I now await the judgment of the press and the public.”
Readers were introduced to Jane Eyre —“a heterogeneous thing” within a conventional world—in
1847. She was a plain orphan with a fierce soul, a child who questions authority, a model of
female autonomy. The novel was a sensation. In a matter of weeks, Emily’s Wuthering Heights,
equally explosive, was published in a three-volume set along with Anne’s Agnes Grey. The
6
authors retained the pseudonyms they had chosen for their book of
poems the year before: Charlotte was Currer Bell; Emily, Ellis Bell,
and Anne, Acton Bell.
Brontë chose a male pseudonym because she wanted her work to
be judged on its own terms. But from the start, readers yearned to
uncover her identity. “To you I am neither Man nor Woman,” was
her message to her critics. “I come before you as an Author only.”
In the exhibition, the original Jane Eyre manuscript is open to a
page from Chapter 23, where Jane agrees to marry Edward
Rochester—but only if they come together on equal footing: “I am
not talking to you now through the medium of custom,
conventionalities, nor even of mortal flesh,” she tells him, “it is my
spirit that addresses your spirit; just as if both had passed through
the grave, and we stood at God’s feet, equal,—as we are!” In the
passage shown, Rochester commands Jane to stop struggling “like
a wild frantic bird.” Jane famously replies: “I am no bird; and no net
ensnares me: I am a free human being with an independent will;
which I now exert to leave you.”
Brontë completed four novels before her death at age thirty-eight.
Jane Eyre, Shirley, and Villette were published during her lifetime;
The Professor (her first effort, initially rejected by her publisher),
was released shortly after her death.
V. Legacy
Brontë’s final years were marked by grave loss, literary celebrity,
and, ultimately, personal contentment. In 1848 and 1849, her
surviving siblings—Branwell, Emily, and Anne—died in quick
succession. The letters she sent to notify friends of these losses
are presented together in the exhibition; she wrote each one on
mourning stationery with black edges. She published her last
novel, Villette, in 1853. The following year, at the age of thirty-eight,
she married Arthur Bell Nicholls, her father’s curate. She died just
Top: Currer, Ellis, and Acton Bell (pseudonyms of Charlotte, Emily, and Anne Brontë), Two copies of Poems, Dark binding: London: Aylott & Jones,
1846, Light binding: 1848 reissue by Smith, Elder, & Co. The Morgan Library & Museum. Photography by Graham S. Haber. Middle: Charlotte
Brontë (1816–1855), Jane Eyre, An Autobiography, edited by Currer Bell, New York: Harper & Brothers, 1848 (first American edition). The Morgan
Library & Museum. Photography by Graham S. Haber. Bottom: Charlotte Brontë (1816–1855), Letter to William S. Williams, dated Haworth, October
2 ,1848, shown with additional letters about Anne’s decline, The Morgan Library & Museum.
7
nine months after the wedding, on March 31, 1855, most likely in the early stages of pregnancy.
Her widower remained in Haworth until Patrick Brontë’s death in 1861 and then returned to his
native Ireland, where he remarried. Brontë’s marriage license and the probate copy of her will are
both on view in the exhibition.
Brontë’s writing continues to have a profound impact on readers throughout the world, and many
find her life story just as compelling as her extraordinary work. Within two years of her death,
fellow novelist Elizabeth Gaskell published the first of many full-length biographies. Dramatists,
filmmakers, poets, artists, critics, pilgrims, and still more biographers followed Gaskell in
responding to Brontë’s life and work. Librarians and other caretakers—beginning with her own
widower—have preserved the books, manuscripts, letters, drawings, documents, and personal
objects that constitute her material legacy. Her readers, of course, are her ultimate heirs.
Public Programs
FILM Jane Eyre
Director: Robert Stevenson
(1943, 97 minutes)
This classic American film adaptation of Charlotte Brontë’s 1847 novel of
the same name stars Orson Welles as Mr. Rochester and Joan Fontaine
as Jane Eyre. After a harsh childhood, orphan Jane Eyre is hired by
Edward Rochester, the brooding lord of a mysterious manor house to
care for his young ward. Original music by Bernard Hermann and
cinematography by George Barnes.
Friday, September 16, 7 pm*
Tickets: Exhibition-related films are free with museum admission. Advance
reservations for members only. Tickets are available at the Admission Desk
on the day of the screening.
*The exhibition will be open for program attendees before the screening.
LECTURE The Brontë Cabinet
Deborah Lutz and Christine Nelson
From portable writing desks to personal garments to tiny manuscripts
written in minuscule handwriting, the Brontës left behind countless
material traces of their lives and work. What stories do these objects tell,
and what do they withhold? Join us for a presentation and conversation
with Deborah Lutz, scholar and author of the The Brontë Cabinet: Three
Lives in Nine Objects and Christine Nelson, Drue Heinz Curator of
Literary and Historical Manuscripts at the Morgan.
Friday, September 30, 6:30 pm*
Tickets: $15; free for members and students with valid ID. Tickets include
free museum admission for the day of program.
*The exhibition will be open at 5:30 pm for program attendees.
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GALLERY Charlotte Brontë: An Independent Will
TALK Christine Nelson, Drue Heinz Curator, Literary and Historical
Manuscripts
Behind the Scenes, Object Exploration in the Education Center
Friday, October 7, 6–8 pm*
Tickets: Free with museum admission; no tickets or reservations
necessary.
*Drop in anytime throughout the evening.
FAMILY Brontë Book Arts
PROGRAM Create your own mini-manuscript book with artist Andrew Eason, Head
of Adult and Young Adult Services at Plainfield Public Library District. In
the style of Charlotte Brontë and her siblings, utilize materials to create a
miniature book to illustrate or write a story to share with your family. A
visit to the exhibition Charlotte Brontë: An Independent Will is included in
the workshop.
Saturday, October 22, 2–4 pm
Tickets: $20; $15 for members. Each ticket is valid for one child and up to
two adults. Tickets include free museum admission for the day of the
workshop. Appropriate for ages 6–12.
ADULT Reading Charlotte Brontë
WORKSHOP Jennifer Minnen, scholar of Victorian literature and PhD Candidate at
Princeton University, leads a reading group on Charlotte Brontë’s final
novel, Villette, in the historic family rooms of the nineteenth-century
Morgan house. The novel follows protagonist Lucy Snowe as she travels
from her native England to the fictional French-speaking city of Villette to
teach at a girls’ school. The reading group will explore the novel’s
psychological landscapes, autobiographical strains, and Gothic echoes
as Lucy matches wits with her scheming employer, unravels a tangled
romance, and wrestles with her own independence. Participants will be
reading from the Oxford World’s Classic 2008 edition of the novel. Light
refreshments will be provided. Advance tickets are required, as space is
limited.
Tuesday, November 1, 3–4:30 pm – Volume I and Volume II
Tuesday, December 13, 3–4:30 pm – Volume III
Tickets: (2 sessions) $45; $35 for members.
GALLERY Charlotte Brontë: An Independent Will
TALK Christine Nelson, Drue Heinz Curator, Literary and Historical
Manuscripts
Friday, November 4, 6 pm
Tickets: Free with museum admission; no tickets or reservations
necessary.
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Publication
The exhibition’s companion volume, The Brontës: A Family Writes (96 pages, 75 photographs), by
Christine Nelson, the Morgan’s Drue Heinz Curator of Literary and Historical Manuscripts, is
published by the Morgan Library & Museum, in association with Scala Arts Publishers, Inc. The
Brontës provides an intimate portrait of a singular family of writers through the literary
manuscripts, rare printed books, personal documents, and private letters in the Morgan’s
collection, one of the world’s finest.
Organization and Sponsorship
The curator of the exhibition is Christine Nelson, the Morgan’s Drue Heinz Curator of Literary and
Historical Manuscripts.
Charlotte Brontë: An Independent Will is made possible by Fay and Geoffrey Elliott.
The related publication is underwritten by the Andrew W. Mellon Fund for Research and
Publications.
The Morgan Library & Museum
A complex of buildings in the heart of New York City, the Morgan Library & Museum began as the
private library of financier Pierpont Morgan, one of the preeminent collectors and cultural
benefactors in the United States. Today it is a museum, independent research library, music
venue, architectural landmark, and historic site. A century after its founding, the Morgan
maintains a unique position in the cultural life of New York City and is considered one of its
greatest treasures. With the 2006 reopening of its newly renovated campus, designed by
renowned architect Renzo Piano, and the 2010 refurbishment of the original library, the Morgan
reaffirmed its role as an important repository for the history, art, and literature of Western
civilization from 4000 B.C. to the twenty-first century.
The Morgan Library & Museum
225 Madison Avenue, at 36th Street, New York, NY 10016-3405
212.685.0008
themorgan.org
The programs of the Morgan Library & Museum are made
possible with public funds from the New York City Department
of Cultural Affairs in partnership with the City Council, and by
the New York State Council on the Arts with the support of
Governor Andrew Cuomo and the New York State Legislature.

—————————————-

Press Contacts
Michelle Perlin
212.590.0311, mperlin@themorgan.org
Patrick Milliman
212.590.0310, pmilliman@themorgan.org
Hans Memling (Flemish, ca. 1440–1494), The Triptych of Jan Crabbe, ca. 1467-70. Oil on panel. Center panel: Image courtesy of
Pinacoteca Civica di Palazzo Chiericati, Vicenza. Left and right panels: © The Morgan Library & Museum, Photography by Graham S.
Haber.
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This exhibition—on view through January 8, 2017—is the first to explore the reconstructed
masterpiece in context. The altarpiece will be surrounded by other paintings by Memling and his
contemporaries, by a choice selection of illuminated manuscripts from Bruges, and by a group of
Early Netherlandish drawings. Aside from the triptych fragments from Italy and Belgium, loans
from the Metropolitan Museum of Art, the Frick Collection, and a private collection will
complement a range of works from the Morgan’s own holdings.
“It is always meaningful—and moving—to see a great work of art made whole again,” said Colin
B. Bailey, director of the Morgan Library & Museum. “The Crabbe triptych is a masterpiece of the
first order and shows a relatively young Memling demonstrating many of the characteristic
elements of his work—crystalline realism, spatial sophistication, and the ability to capture the
humanity and individuality of his subjects. We are delighted to offer visitors the opportunity to see
this work in its full glory for the first time in the U.S. and to explore the artistic milieu in which it
was created.”
THE EXHIBITION
I. Triptych of Jan Crabbe
Morgan acquired the triptych’s inner wings in 1907.
They were part of an altarpiece commissioned by Jan
Crabbe, Abbot of the Cistercian monastery of Ten
Duinen, near Bruges, Belgium. On the central panel,
Memling depicted the crucifixion of Christ, with the
Virgin Mary, St. John the Evangelist, and St. Mary
Magdalene to the left of the cross. Kneeling to the
right of the cross is Jan Crabbe, accompanied by his
name-saint St. John the Baptist and St. Bernard of
Clairvaux, the founder of the Cistercian order. The two
inner wings depict members of the patron’s family: his
mother Anna Willemzoon with St. Anne on the left,
and his much younger half-brother Willem de Winter
with St. William on the right. The outer wings,
originally visible only when the panels are closed,
feature an Annunciation scene with the Angel Gabriel
and the Virgin Mary. It is not known precisely when or
Hans Memling (Flemish, ca. 1440–1494), The Triptych of Jan
Crabbe (closed), Annunciation Panels, ca. 1470. Oil on panel
Musea Brugge © www.lukasweb.be – Art in Flanders vzw.
Photography by Hugo Maertens.
3
why the work was dismantled, though it was not unusual for composite pieces such as triptychs to
suffer this fate.
The Triptych of Jan Crabbe is a fine demonstration of Memling’s extraordinary ability to capture
the essence of the human face. In particular, the left panel portrait of Anna Willemzoon is one of
the most frank and extraordinary depictions of old age from the Renaissance.
Indeed, in later years, Memling’s portraiture would come to revolutionize the genre across
Europe. Similarly transformative, the Annunciation scene features Gabriel and the Virgin Mary
clad in white drapery and set on pedestals in niches like sculptures, but with rosy flesh tones in
their heads and hands, making them one of the earliest examples of the technique of demigrisaille
in Flemish painting.
II. Triptych of Jan Crabbe in Context
Paintings by Memling and his Contemporaries
Several independent portrait paintings from Memling’s early and late career offer further evidence
of Memling’s extraordinary talent as a portraitist. Although Memling’s painterly style developed as
he grew older, his ability to capture the essence of his sitters’ personalities never changed.
Memling did not work in isolation, and a painting representing the Virgin and Child with St. Anne
by a contemporary artist known as the Master of the Saint Ursula Legend provides an ideal
counterpart to the triptych with its broad landscape and similar iconography. It shows how

Left: Hans Memling (Flemish, ca. 1440–1494), Portrait of a Man, ca. 1470, Oil on panel. © The Frick Collection. Right: Master of
the Saint Ursula Legend (Flemish, active late 15th century), Virgin and Child with St. Anne presenting Anna van Nieuwenhove, ca.
1479-83. Oil on panel. © Metropolitan Museum of Art, Robert Lehman Collection.
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Memling’s production fits alongside that of other painters in
Bruges, while also highlighting how his technical abilities
surpassed most others.
Manuscript Illumination in Bruges
In the fifteenth century, Bruges was an important center for
manuscript illumination. Memling’s development of the demigrisaille
technique has generally been traced to his time spent in
Cologne, but in fact, varieties of grisaille and demi-grisaille were
regularly used in Bruges manuscript illumination in the decades
prior to the painting of the Crabbe triptych, as will be shown with
a selection of Books of Hours from the Morgan’s rich holdings.
Conversely, the radical naturalism of Memling’s painting seems
to have served as an inspiration to the manuscript painters.
Superb manuscripts from the Morgan’s collection will show that
reflections of Memling’s painting technique began to appear in
manuscript painting towards the end of the fifteenth century.
Drawings by Memling’s Contemporaries and Followers
No original drawings by Memling survive, and those by his
contemporaries are extremely rare, but it is clear that drawing
played a fundamental part of his artistic practice. Several
exquisite drawings by Memling’s contemporaries and followers
from the Morgan and the Metropolitan Museum of Art will give an
impression of the array of drawing types Memling must have
executed in his lifetime.
III. Beneath the Surface: Technical Study of
the Crabbe Triptych
Technical study of the Jan Crabbe panels has revealed
fascinating aspects of the altarpiece’s evolution. With infrared
imaging (IRR), Memling’s graphic style can be seen in the lively
underdrawings that lie beneath the layers of paint. Differences
between the underdrawing and painting show that Memling
made changes to the initial composition. X-radiographs show
that he also made changes during the actual painting process.
Top: Book of Hours in Latin and French. Northern
France and Flanders, ca. 1480. Illuminated by Simon
Marmion. The Morgan Library & Museum. Purchased
by Pierpont Morgan in 1900. Bottom: Workshop of
Hugo van der Goes (Flemish, ca. 1440–1482),
Kneeling Lady, ca. 1480-1500, Pen and brown ink with
traces of black chalk. The Morgan Library & Museum,
Purchased by Pierpont Morgan in 1909.

5
Public Programs
LECTURE Jan Crabbe and Memling’s Beginnings in Bruges
Till-Holger Borchert
Till-Holger Borchert, Director, Museums of Bruges, Belgium, surveys the
life and work of Hans Memling from the moment that he established
himself in Bruges in 1465. Special emphasis is put on the role of patrons
such as Jan Crabbe in Memling’s early career.
Wednesday, September 7, 6 pm*
Tickets: $15; $10 for members; free for students with valid ID.
*The exhibition will open at 5 pm for program attendees.
GALLERY Hans Memling: Portraiture, Piety, and a Reunited Altarpiece
TALK Ilona van Tuinen, Assistant Curator, Drawings and Prints
Friday, September 16, 6 pm
Tickets: Free with museum admission; no tickets or reservations
necessary.
LECTURE A Closer Look at Hans Memling’s Working Methods
Maryan Ainsworth
Maryan Ainsworth, Curator of European Paintings at the Metropolitan
Museum of Art, discusses Memling’s working methods in the Crabbe
Triptych and also in the remarkable portraits for which he is especially
well known.
Tuesday, October 4, 6:30 pm*
Tickets: $15; $10 for members: free for students with valid ID.
*The exhibition will open at 5:30 pm for program attendees.
CONCERT Flanders Remembers: Music and Words from WWI
This semi-staged performance includes a range of music (classical, jazz,
cabaret), and readings from the World War I period, featuring American,
French, Flemish, and German composers and writers. Artists include
soprano An De Ridder, mezzo-soprano Katarina Van Droogenbroeck,
actor/baritone Matthew Patrick Morris, and pianist Katya Mihailova.
Music of Debussy, Charles Ives, and Irving Berlin, among others.
Directed by Edwin Cahill. Presented with the General Representation of
the Government of Flanders to the USA. Reception follows.
Thursday, November 17, 7 pm*
Tickets: $35; $25 for members.
*The exhibition will open at 6 pm for concert attendees.
6
GALLERY Hans Memling: Portraiture, Piety, and a Reunited Altarpiece
TALK John Marciari, Charles W. Engelhard Curator and Department Head,
Drawings and Prints
Friday, November 18, 1 pm
Tickets: Free with museum admission; no tickets or reservations
necessary.
Exhibition Catalogue
A fully illustrated catalogue will accompany the exhibition: Hans Memling: Portraiture, Piety, and a
Reunited Altarpiece, edited by John Marciari, with essays by Maryan W. Ainsworth, Till-Holger
Borchert, Noël Geirnaert, John Marciari, Gianluca Poldi and Giovanni C.F. Villa, and Ilona van
Tuinen. Bruges: The Flemish Research Centre for the Arts in the Burgundian Netherlands,
Musea Brugge / New York: The Morgan Library & Museum, in Association with Paul Holberton
Publishing, London, 2016. 120 pages, 60 color illustrations.
For press inquiries regarding the catalogue:
Katherine Bogden Bayard, katherine@paul-holberton.net, +44 (0) 20 7407 0809
Organization and Sponsorship
The curator of the exhibition is John Marciari, Charles W. Engelhard Curator and Head of the
Department of Drawings and Prints, the Morgan Library & Museum.
Hans Memling: Portraiture, Piety, and a Reunited Altarpiece is made possible in part by S. Parker
Gilbert, whose gift prior to his death in 2015 provided early support for the project.
Generous support is provided by the General Representation of the Government of Flanders to
the United States and the Robert Lehman Foundation, with assistance from the Janine Luke and
Melvin R. Seiden Fund for Exhibitions and Publications, the Samuel H. Kress Foundation, the
Sharp Fund PLD, and Aso O. Tavitian. The catalogue is made possible by the Flemish Research
Centre for the Arts in the Burgundian Netherlands, Musea Brugge.
In partnership with
The Morgan Library & Museum
A complex of buildings in the heart of New York City, the Morgan Library & Museum began as the
private library of financier Pierpont Morgan, one of the preeminent collectors and cultural
benefactors in the United States. Today it is a museum, independent research library, music
The programs of the Morgan Library & Museum are made
possible with public funds from the New York City Department
of Cultural Affairs in partnership with the City Council, and by
the New York State Council on the Arts with the support of
Governor Andrew Cuomo and the New York State Legislature.
7
venue, architectural landmark, and historic site. A century after its founding, the Morgan
maintains a unique position in the cultural life of New York City and is considered one of its
greatest treasures. With the 2006 reopening of its newly renovated campus, designed by
renowned architect Renzo Piano, and the 2010 refurbishment of the original library, the Morgan
reaffirmed its role as an important repository for the history, art, and literature of Western
civilization from 4000 B.C. to the twenty-first century.
The Morgan Library & Museum
225 Madison Avenue, at 36th Street, New York, NY 10016-3405
212.685.0008
themorgan.org

Are you interested in getting involved in WKCR’s 75th Anniversary Celebrations? Are you a WKCR alum? Want to find out more? Please email us at WKCR75@gmail.com.

WKCR Departments

Interviews with jazz figures are available through the archives page, as are others from different departments.

Archives

Abdullah Ibrahim
Alice Coltrane
Archie Shepp
Ben Gerstein, G.L. Diana, Mike Pride
Brian Drye
Charles Tyler
Darius Jones
Dewey Redman
Don Cherry
Hannibal Marvin Peterson and Beaver Harris
Hilton Ruiz
Kat Whatley, Steven Bernstein, Peter Apfelbaum
Lars Haake
Lee Konitz
Matthew Shipp
Mike Pride
Milford Graves
Noah Howard Quartet
Paul Dunmall
Satoko Fujii and Natsuki Tamura
Steve Cohn
Vince Giordano

Schedule: Schedule

Besides the weekly shows mentioned below, numerous special broadcasts occur throughout the year, pre-empting all regular programming for at least 24-hours. These include:

Birthday Broadcasts
Long ago it became tradition at WKCR to play 24 hours of a jazz great’s music on his/her birthday. The musicians we celebrate are as follows:

January 10: Max Roach (b. January 10, 1924; d. August 16, 2007)

January 30: Roy Eldridge (b. January 30, 1911; d. February 26, 1989)

March 9: Ornette Coleman (b. March 9, 1930; d. June 11, 2015)

March 10: Bix Beiderbecke (b. March 10, 1903; d. August 7, 1931)

April 7: Billie Holiday (b. April 7, 1915; d. July 17, 1959)

April 22: Charles Mingus (b. April 22, 1922; d. January 5, 1979)

April 29: Duke Ellington (April 29,1899; d. May 24, 1974)

July 4: Louis Armstrong (b. August 4, 1901; d. July 6, 1971) — he believed his birthdate to be July 4th 1900, so we celebrate both birthdays.

August 4: Louis Armstrong (b. August 4, 1901; d. July 6, 1971)

August 27-29: Lester Young (b. August 27, 1909; d. March 15, 1959) and Charlie Parker (b. August 29, 1920; d. March 12, 1955) — we preempt August 28 as well, playing Lester Young until noon, when we switch to Charlie Parker.

September 23: John Coltrane (b. September 23, 1926; d. July 17, 1967)

October 10: Thelonious Monk (b. Oct. 10, 1917; d. February 17, 1982)

October 30: Clifford Brown (b. October 30, 1930; d. June 26, 1956)

November 21: Coleman Hawkins (b. Nov. 21, 1904; d. May 19, 1969)

Festivals
WKCR is perhaps most famous for its extended marathon festivals. Beginning with Albert Ayler in 1970, the Jazz Department has periodically pre-empted all programming in order to present, in chronological order, the complete recorded oeuvre of a jazz great (see Phil Schaap Interview for complete list).

Furthermore, every December, WKCR presents its annual Bach Festival, playing nothing but the music of Johann Sebastian Bach for the last 7-10 days of the year.

Columbia WKCR and Jazz

The sounds of jazz have been heard over the WKCR FM airwaves for over 60 years. In that time we have cultivated a position of great respect among both listeners and musicians. Duke Ellington, Dizzy Gillespie, and Charles Mingus have walked our hallways, and this past year we have been visited by Barry Altschul, Benny Golson, and Dave Douglas among many notable others.

Roughly 67 hours (about 40%) of WKCR airtime is currently devoted to Jazz music each week. We practice a ‘one foot in the past, one foot in the future’ approach. Unlike other ‘jazz’ stations, WKCR is deeply commited to the rich and storied history of jazz music and its numerous geniuses, many of whom have been unfortunately neglected in recent decades. Additionally, we feature and interview cutting edge, avant-garde musicians who are seldom heard in more commerically-driven media.

At WKCR, all of our resources and efforts are directed towards presenting America’s art music in a historically conscious and educational fashion. In conjunction with alumni members, who are among the foremost jazz experts in the world, our DJs have produced a variety of festivals, serving to educate both programmer and listener. Beginning in 1970, WKCR began to present extended broadcasts, generally exceeding 150 hours in length, whose purpose was, and still is, to present the complete recorded works of an important musician. A few notable examples include the Louis Armstrong Centennial Festival Part I (June 30 – July 7, 2000; 184 hours), and the Duke Ellington Centennial Festival (April 23 – May 1, 1999; 240 hours).

Aside from festivals such as the ones just mentioned, WKCR’s jazz department also presents 14 annual ‘Birthday Broadcasts,’ 24-hour marathons that celebrate the birthdays of the pivotal figures in jazz history as holidays. In addition to the Birthday Broadcasts, WKCR also occasionally interrupts regular programming for unscheduled ‘Memorial Broadcasts’ which serve to pay tribute to musicians upon their passing and alert the jazz community to memorials and funeral plans. Mindful that jazz is not just a recorded phenomenon, but a rich community based on human interaction, WKCR serves as a vital bulletin board, announcing upcoming concerts and music-related events. Overall, we are committed to keeping our listeners abreast of significant jazz happenings.

With this kind of dedication and attention to the history and ongoing preservation of the jazz legacy, we seek to simultaneously address the needs of both the newcomer to jazz and the aficionado. Listeners turn to WKCR because they know that we lead them to the classic, rare, and cutting-edge sounds of Jazz.

Special Programming

Besides the weekly shows mentioned below, numerous special broadcasts occur throughout the year, pre-empting all regular programming for at least 24-hours. Click here for a list of our Birthday Broadcasts and other special programming info.

Programs

Listen on WKCR regular programming schedule at:
Monday 8:20-9:30am
Tuesday 8:20-9:30am
Wednesday 8:20-9:30am
Thursday 8:20-9:30am
Friday 8:20-9:30am
Department: Jazz
WKCR’s longtime host Phil Schaap, one of the world’s leading jazz historians, hosts this daily forum for the music of Charlie Parker.

Time:
08:20

Listen on WKCR regular programming schedule at:
Monday 5-8:20am
Tuesday 5-8:20am
Wednesday 5-8:20am
Thursday 5-8:20am
Friday 5-8:20am
Department: Jazz
Time:
05:00

Listen on WKCR regular programming schedule at:
Sunday 1-6am
Department: Jazz
This overnight show typically features some of the jazz department’s most adventurous programming. Listeners can expect to hear extended works and complete albums.

Time:
01:00

Listen on WKCR regular programming schedule at:
Monday 6-9pm
Tuesday 6-9pm
Wednesday 6-9pm
Thursday 6-9pm
Friday 6-9pm
Department: Jazz
These shows form the core of WKCR’s jazz programming. In them, our rotating cast of DJs presents the entire range of recorded jazz, from its birth in New Orleans through its most avant-garde incarnations on today’s scene. Each programmer has his or her own unique approach to the music; on a given day, one may hear anything from an in-depth examination of a focused theme to an eclectic presentation covering a broad mix of styles. Additionally, many DJs are known to invite prominent and up-and-coming artists to our studios to discuss their music and influences; the Wednesday edition of Jazz Alternatives, the ‘Musician’s Show’, is reserved for this purpose.

Time:
18:00

Listen on WKCR regular programming schedule at:
Sunday 2-7pm
Department: Jazz
This five-hour feature, WKCR’s longest regularly-scheduled show, presents an in-depth look at one specific artist or theme. Our DJs conduct thorough research to offer rare recordings alongside acknowledged masterpieces, thus presenting our listeners with a fully-rounded portrait of the chosen musical subject.

Time:
14:00

Listen on WKCR regular programming schedule at:
Monday 2-5am
Department: Jazz
Our weekly jazz programming begins with this show, which explores the world of jazz in the first half of the twentieth century. Like ‘Traditions in Swing’, these thematic presentations are recommended for learning about and enjoying earlier styles of jazz. MMM begins a 7.5 hour block of continuous jazz, WKCR’s longest in any style.

Time:
02:00

Listen on WKCR regular programming schedule at:
Monday 12-3pm
Tuesday 12-3pm
Wednesday 12-3pm
Thursday 12-3pm
Friday 12-3pm
Department: Jazz
Time:
12:00

Listen on WKCR regular programming schedule at:
Saturday 6-9pm
Department: Jazz
Phil Schaap has hosted this award-winning show for over thirty years. He offers thematic presentations of jazz from the first half of the twentieth century, from the earliest records of the ‘teens through the end of the swing era in the mid-forties. Phil takes pains to find the best sound sources, often the rarest, in order to present the music in its highest quality.

Time:
18:00

Phil Schaap runs the The Jazz Schop on line.

The story of Schaap Shop begins with the late and great Tommy Flanagan. The last time Phil spent time with this most beautiful and lyrical pianist – often hailed as the “Jazz Poet” – was just less than a month before he died. They attended a Jimmy Heath concert and later hung out at a jam session joined by Percy Heath. There, Tommy and Phil were further joined by Duke Ellington’s nephew, the late Michael James. The three of them adjourned to a bistro and talked Jazz deep into the night. As Phil departed at the end of the evening, Tommy Flanagan walked him to the door, and in a serious tone remarked, “You should start a record store.” He then poked Phil sharply with his index finger and continued, “And the name of it should be the Schaap Shop!” Tommy Flanagan’s final instructions were the root to Phil and his students running the Schaap Shop (Gift Shop) at Jazz at Lincoln Center for three years which became the website Phil Schaap Jazz. philschaapjazz.com: where there’s Jazz content for free and quality Jazz goodies are offered for sale!

Nice interview with Phil on his Charlie Parker worship:

Phil Schaap on Charlie Parker

Like a Nathan’s hot dog or Carvel ice-cream cone, Phil Schaap Picture 3 is a New York original. For the uninitiated, Phil, 59, is best known as the host of Bird Flight, a radio show on WKCR that’s devoted to Charlie Parker. But that isn’t really what’s remarkable. What’s special is Phil’s unrivaled passion for the subject, his nitty-gritty knowledge, and the fact that the show has been on the air every weekday from 8:20 to 9:40 a.m. since 1983. Many people who know about Charlie Parker and his music gained their smarts and appreciation through Phil’s show.

In honor of Parker’s 90th birthday on August 29 and 795550 WKCR’s “Charlie Parker Birthday Broadcast” on the August 28 and 29, I decided to pose five Parker questions to Phil. In today’s post, we focus on the famed Ko-Ko session of November 26, 1945:

JazzWax: What’s the major artistic achievement of Parker’s Ko-Ko?
Phil Schaap: For Charlie Parker, he is in the studio for his first Picture 4 session as a leader. He also is mapping out for you precisely what came to him while playing over Cherokee’s chord changes. It’s a eureka moment for him in terms of where jazz might be going. He’s returning to a piece that was so essential to his development. Through the music, Parker is returning to Cherokee and telling you how the new music—bebop—came to him. [Photo by William P. Gottlieb, Library of Congress]

JW: Returning to Cherokee?
PS: At the time in November 1945, very few people would have been aware that Bird had played Cherokee regularly as far Cherokee back as 1939. They also wouldn’t know that it’s through this song that Parker saw the door open for what would become bebop. Ko-Ko is the pinnacle of what this new form of expression is all about.

JW: How so?
PS: Parker is being explicit and inventive about something listeners understood—the reinvention of a popular standard. He is specifically saying through his playing that Ko-Ko is the same as Cherokee but also quite different. During the recording, he also hits the three emphasis points of bebop.

JW: What are they?
PS: The exhibition of unbelievable amounts of technique almost casually displayed. The incredible wisdom in deep Improvisation2CharlieParker harmony that is effectively displayed through improvisation. And the unleashing of a new rhythmic arc through phrasing, meaning the music now has a completely different feel and sound than swing, which preceded it. The last of the three emphasis points—the rhythmic arc and phrasing—actually is bebop’s biggest innovation.

JW: Yet there’s also enormous urgency and a mysterious feel to what Parker plays on the intro and outro to Ko-Ko.
PS: Not as much as you think. Yes, there’s a radical quality to Ko-Ko that comes from the new rhythmic line. And the song’s initial minor key is telling you the music has a different flavor. Charlie-parker-017-img But that’s not what makes this song special. That’s just the employing of a fetching component of music’s making. The rhythmic line—independent of key or anything else—is an incredibly new way of making music. It’s the definitive element of breakthrough, and it’s why virtually anyone even casually familiar with jazz can hear that something new is going on in the music. [Photo of Charlie Parker by Herman Leonard/CTSImages.com]

JW: Then what is Parker saying here?
PS: The music we hear on the record is more important than any hidden meaning Parker may have had. What’s most interesting about this session, in some ways, is that Bird had no intention of recording Ko-Ko at the outset.

JW: What do you mean?
PS: This was his first session as a leader, which meant he was responsible for the song choices and choosing the band Url_4 members. He originally planned to record two blues—Now’s the Time and Billie’s Bounce, both in F concert—a ballad based on Embraceable You and a tune based on I Got Rhythm’s chord changes, which we now know as Anthropology.

JW: What changed?
PS: On a break early in the recording session, Parker went downstairs to pick up his instrument from the repair shop. When he returned, before recording again, he tested the repair by playing the most ambitious piece in his repertoire in terms of technique—Cherokee.

JW: How did this exercise become a recorded song?
PS: Oddly enough, Savoy owner Herman Lubinsky [pictured], who for the most part was non-artistically oriented, heard what Parker was Jazz_lubinsky doing and said, “Hey, man, that’s what we should record!” Bird agreed and the group recorded Warming Up a Riff and Ko-Ko, both of which were based on Cherokee. They scrapped the I Got Rhythm tune and dropped Embraceable You at the end to make room for Ko-Ko.

JW: Why cut one of the songs?
PS: According to the rules of the musicians’ union at the time, you could only record four tracks in one session. This rule was put in place to keep record companies from overworking musicians. When Parker and the musicians pick up Ko-Ko, Dizzy had to play the trumpet part. Miles wasn’t going to be able to play that difficult passage at the beginning of the song in 1945.

JW: What happens at the session?
PS: The group recorded three takes of Billie’s Bounce. Then they took a break to let Bird go to the repair shop to pick up his alto saxophone. When he comes back, they record Warming Up a Riff, which is Photo_Parker based on Cherokee. They also record takes No. 4 and 5 of Billie’s Bounce, followed by four takes of Now’s the Time and three takes of Thriving From a Riff. There’s only take of Embraceable You, known as Meandering. But eventually the last song is dropped for Ko-Ko, the fifth title recorded that day.

JW: Is KoKo an extension of anything the group had played earlier?
PS: Yes, Ko-Ko actually is rooted in the astounding display of Kc26a harmony Parker executed earlier on Warming Up a Riff, on which he takes a three chorus solo.

JW: Is Parker’s opening line for Ko-Ko coming off the top of his head or did he have it already down?
PS: It’s an arrangement they already had worked out to Cherokee. But instead of playing Cherokee straight, Parker let the arrangement become the melody.

Tomorrow, Phil talks about Parker’s trip to the West Coast, the impact he has on California jazz, and his stay at Camarillo State Hospital near Los Angeles between August 1946 and late January 1947.

JazzWax tracks: The five songs recorded during the Ko-Ko session can be found on the Complete Savoy & Dial Master Takes at iTunes or here. You’ll find the five tunes recorded in November 1945 on the first disc.

JazzWax clip: Here’s Charlie Parker and Dizzy Gillespie playing Ko-Ko, with Gillespie on trumpet and piano…

Hard to take? Quite honestly, we agree. Bebop was a cul de sac, in the end, for clear reasons having to do with basic musical conversation and story telling. You have to land somewhere, however fanciful your flight.

sofi™ Awards Showcases for Outstanding Specialty Foods of 2016 Since 1972, the sofi Awards have helped the Specialty Food Association advance culinary excellence and creativity worldwide by recognizing the outstanding work of its member
companies. The sofi Awards showcases present the 28 Winners and 100 Finalists for the Specialty Food Association’s 44th sofi Awards for the outstanding specialty foods and beverages
of the year. The 2016 contest set records, with 3,200 entries across 28 categories. “sofi” stands for specialty outstanding food innovation.” Finalists:
https://www.specialtyfood.com/awards/sofi/current-finalists/

North Concourse
Incubator Alley
Brooklyn FoodWorks presents 15 up-and-coming specialty food start-ups at the earliest stages.
North Concourse.
What’s New, What’s Hot! Showcases
Showcases featuring hundreds of specialty foods representing the hottest trends in new products, natural and organics, and gifts. Provides a snapshot of companies on the exhibit floor. North Concourse. Opens at 9:30 am
Shelf Showdown: A Specialty Food Pitch Competition
Four first-time exhibitors will pitch a new product to a panel of specialty food buyers from Whole Foods, UNFI, Marczyk Fine Foods and The Greene Grape, in this live competition taking place in front of an audience of show attendees. All contestants will get exposure and feedback
on their products and the winner will receive a promotional package from the Specialty Food Association.
Saturday, June 25, 5:30 – 7:30 p.m., Room 1E10.
Hall of Fame and Lifetime Achievement Awards Ceremony
The Specialty Food Association honors the past and inspires the future through the Hall of Fame and Lifetime Achievement Awards Ceremony. The Hall of Fame has 47 new inductees. Five
SFA members are being honored for their career achievements in specialty food. They include Andy Balducci, Eunice and David Bigelow, Dan Carter, Jim McGilloway and Joel Schuman.
Monday, June 27, 5 – 6:30 p.m., Hall D, Javits Center.
Education Program The Specialty Food Association is presenting 18 hours of workshops and business-building
seminars across nine sessions at the Summer Fancy Food Show to help startups, established manufacturers, and buyers at all levels of expertise succeed in the ever-changing marketplace.
All sessions open to press, space permitting. Full schedule.
Business Building Workshops
 The Basics: The Business of Specialty Food – Full-day workshop on June 25
 New York’s Changing Retail Landscape
 Start Right, Grow Strong: 9 Critical Steps
 Sell Smart: The Best Channels for Your Product
 Price It Right: Using Costs to Create Real-World Price Sheets
Topical Talks
 Wired Youth and Wise Elders: The Rising Influence of Gen Z and boomers on Specialty Food Trends.
 Hospitality Makes People Happy: Easy Ways to Impact Your Customer’s Service Experience
 The Future is Now: Innovations That Will Change How We Produce, Sell, and Eat – An assembly of problem solvers, disrupters, and thinkers take on some of the food world’s most complex issues. Speakers include William Rosenzweig, Dean and Executive Director of The Food Business School, The Culinary Institute of America;
Viraj Puri co-founder, Gotham Greens; Peter J. Kim Executive Director, Museum of Food and Drink (MOFAD); and Terry Hope Romero, Outreach Lead for Food and Crafts at Kickstarter.
Specialty Food Foundation
The Specialty Food Foundation, established in 2014 by the Specialty Food Association, works to reduce hunger and increase food recovery efforts via grant-making, education and industry events. In its second year, the Foundation funded grants totaling $400,000 to 23 hunger relief
organizations. Learn more at the Foundation’s booth and at specialtyfoodfoundation.org.
Business Builders 1-to-1
Customized match-making program where exhibitors present their products in pre-arranged meetings with top buyers for retailers, distributors and foodservice. More than 1,200 one-on-one appointments are set to take place in sessions facilitated by the Specialty Food Association.
Giving Back
At the end of the show, exhibitors will continue their long tradition of giving back by donating thousands of pounds of meat, cheese, produce, confections and snacks to the Specialty Food Foundation, which will in turn donate the products to City Harvest, the Summer Fancy Food
Show’s longtime charity of choice. Last year exhibitors donated more than 8.5 tractor trailers full of specialty food to help feed hungry New Yorkers.
Specialty Food Industry Fast Facts (2015 figures):
 Total U.S. Specialty Food Sales: $120.5 billion, up 21.2 percent since 2013.
 Specialty food represents 14 percent of all retail food sales
 Sales for foodservice are growing faster than retail sales: 27 % vs. 19.7 %
 Share of U.S. Sales of Specialty Food:
1. Retail: 78 percent
2. Foodservice: 22 percent
Largest Specialty Food Categories:
 Cheese and Cheese Alternatives
 Frozen & Refrigerated Meat, Poultry & Seafood
 Chips, Pretzels & Snacks
Fastest Growing Categories:
 Refrigerated Ready-to-Drink Tea and Coffee
 Eggs
 Jerky and Other Meat Snacks
 Refrigerated Pasta
 Water
Fancy Food Show Details
Press Registration
The Fancy Food Show is a trade-only event. The Specialty Food Association provides complimentary press badges to qualified media. Learn more and register.
Press Office: Room 1C04, Javits Center
Exhibitor List: For a full list of exhibitors, go to my.fancyfoodshows.com
Social Media: #SFFS16
Facebook: facebook.com/craftcarejoy
Twitter: twitter.com/craftcarejoy #SFFS16
LinkedIn: Specialty Food Industry Group.
Pinterest: pinterest.com/craftcarejoy
Instagram: craftcarejoy

About the Specialty Food Association
The Specialty Food Association is a thriving community of food artisans, importers and entrepreneurs. Established in 1952 in New York, the not-for-profit trade association provides its 3,200 members in the U.S. and abroad the tools, knowledge and connections to champion and nurture their companies in an always-evolving marketplace. The owns and produces the Winter and Summer Fancy Food Show, and presents the sofi Awards honoring excellence in specialty food. Learn more at specialtyfood.com.
Specialty Food Association Media Contact:
Louise Kramer, Communications Director, 646-878-0130, lkramer@specialtyfood.com

In all, the 2016 sofi Awards Honorees include 28 Winners and 100 Finalists across 28 categories. For a list of Winners and Finalists, click https://www.specialtyfood.com/awards/sofi/current-finalists/

The 2016 sofi Awards Honorees will be celebrated at the Summer Fancy Food Show at the Javits Center in New York, June 26-28, 2016. The show, owned and produced by the Specialty Food Association, is the largest marketplace for specialty food and beverages in North America.

The show will feature displays of all 2016 sofi Awards Winners and Finalists, and the Winners will be highlighted in special showcases at the event’s opening night party at the Javits Center on June 26 from 5-7 p.m.

New Tastes and Reconfigured Classics Dominate sofi Awards Picks

NEW YORK (May 25, 2016) — The Specialty Food Association announces the outstanding specialty foods of the year, winners of the prestigious 2016 sofi™ Awards.

The 2016 sofi Awards winners include flavors of North Africa, Southern Italy, and virtually every region of the U.S. Pumpkin seeds, honey, and bacon make several appearances on the list of winners and finalists. The latest vegan darling, aquafaba, or chickpea water, made the list, as did chicken fat and coconut sugar.

Since 1972, the sofi Awards have helped the Specialty Food Association advance culinary excellence and creativity worldwide by recognizing the outstanding work of its members. From mouthwatering sauces to delectable desserts to savory snacks, the 2016 honorees were chosen from a record 3,200 entries by a national panel of culinary experts in a blind tasting. Those that reach the level of sofi Winner and Finalist serve as ambassadors for the industry and represent the best of what specialty food has to offer.

In all, the 2016 sofi Awards Honorees include 28 Winners and 100 Finalists across 28 categories. For a list of Winners and Finalists, click here.

“This year’s sofi Awards Winners and Finalists illustrate the vibrancy of the specialty food industry,” says Laura Santella-Saccone, Chief Marketing Officer for the Specialty Food Association. “Each one reflects the passion and creativity Association members bring to the food they present to American, and international, food lovers.”

A sofi is the top honor in the $120.5 billion specialty food industry. “sofi” stands for specialty outstanding food innovation.

For two weeks in May 2016 the judges tasted and evaluated each product and scored the entries on excellence of taste and ingredients. In all, 46 judges including chefs, culinary instructors, recipe developers, food journalists and specialty food buyers who are experts in particular categories such as cheese and oil, participated in the selection process. For the list of judges, click here.

The 2016 sofi Awards Honorees will be celebrated at the Summer Fancy Food Show at the Javits Center in New York, June 26-28, 2016. The show, owned and produced by the Specialty Food Association, is the largest marketplace for specialty food and beverages in North America. The show will feature displays of all 2016 sofi Awards Winners and Finalists, and the Winners will be highlighted in special showcases at the event’s opening night party at the Javits Center on June 26 from 5-7 p.m.

Registration for the Fancy Food Show is at fancyfoodshows.com. The show is a trade-only event. Journalists who cover the specialty food industry may apply for press credentials. Click here to apply.

About the Specialty Food Association
The Specialty Food Association is a thriving community of food artisans, importers and entrepreneurs. Established in 1952 in New York, the not-for-profit trade association provides its 3,200 members in the U.S. and abroad the tools, knowledge and connections to champion and nurture their companies in an always-evolving marketplace. The Association owns and produces the Winter and Summer Fancy Food Shows, and presents the sofi™ Awards honoring excellence in specialty food. Learn more at specialtyfood.com.

Media Contacts:
Louise Kramer, Communications Director, 646-878-0130, lkramer@specialtyfood.com

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Louise Kramer, Communications Director, at 646.878.0130 or lkramer@specialtyfood.com.
https://www.specialtyfood.com/shows-events/summer-fancy-food-show/press-resources/

US Chocolate Reaching $30 billion

According to a report by Research and Markets, the chocolate market in the U.S. is projected to reach $30 billion by 2021. An increasing number of product offerings by private-label brands at affordable prices and shifting consumer preferences towards chocolate with health benefits are cited as two key factors that are driving market growth.

As the largest chocolate market in the world, the U.S. is seeing surging demand for premium, dark and sugar-free chocolates. The increasing use of chocolates in food and beverages, changing consumer tastes and preferences, and a growing chocolate gifting culture during special occasions are also contributing growth factors.

A wide and organized retail distribution network continues to boost sales of chocolate. In 2015, supermarkets/hypermarkets accounted for the largest share of sales in the U.S. chocolate market. By segment, the market was dominated by countline and seasonal chocolates, which accounted for a cumulative revenue share of approximately 65 percent.

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IVORY COAST CHOC SUPPLIES CUT 180,000 tons
Jun 7

Exporters are rejecting roughly half of cocoa port arrivals from top producer Ivory Coast on quality grounds, adding to problems that are already expected to result in a 180,000 tonne global supply deficit this year.

The rejections are because of high acid levels and small bean size, exporters and merchants said, adding that farmers are also struggling to dry beans because of recent heavy rains.

Bean size is determined by the number of beans per 100 grammes of cocoa, known as the bean count, with a higher figure reflecting smaller bean size.

Ivory Coast’s marketing board, the Coffee and Cocoa Council (CCC), has fixed a ceiling of 120 beans per 100 g for beans destined for export during the April to September mid-crop. But exporters said that average bean counts are coming in between 125 and 160.

“We’re getting cocoa, but 50 percent is rejected after analysis because the bean count is outside the norms and the free fatty acids (FFA) are above the accepted levels,” said the purchasing director of a San Pedro-based exporter.

Smaller beans contain less cocoa butter, the ingredient that gives chocolate its texture, while FFAs erode the quality of that butter.

The decline in bean quality is blamed on a prolonged dry season and particularly harsh Harmattan desert winds during a critical period for mid-crop development.

DAMPENED EXPECTATIONS

The rains have now improved but it is likely to be weeks or even months before they have an impact on bean quality.

“For the moment we aren’t seeing any improvement in quality. We hope the recent rains will change that … But it might not be until July, August or September. It’s hard to know,” said Ali Lakiss, managing director of SAF Cacao, another San-Pedro based exporter.

While the recent rainfall has offered some relief to farmers, the regular downpours also have a downside.

Merchants charged with buying beans directly from farmers and transporting them to exporters at the ports complained that the rains have made it difficult for planters to dry and ferment their beans.

“It takes longer (to prepare the beans) and even then the quality is only average. Not only are the beans small, but now they are also mouldy and slated,” said Badara Kante, a buyer based in the town of Meagui.

The rains have also damaged the dirt tracks linking many plantations to the main roads in Ivory Coast’s western cocoa-growing heartland, increasing the transport times from bush to port, bringing further deterioration in bean quality.

“When we buy from the farmers, the quality is already bad … It’s really hard to find good cocoa right now. This year it’s really complicated,” said Ibrahim Coulibaly, a buyer based in the town of Soubre.

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FDA Warns Whole Foods to Brace Up

Regulators warned Whole Foods Market that health violations were discovered at its Everett, Mass., plant. During five inspections between Feb. 10 and 26, inspectors found food products that were being prepared, packed or held under unsanitary conditions. They also detected non-pathogenic bacteria Listeria welshimeri, which is not in itself harmful, but demonstrates that conditions exist in the facility that would support the presence and growth of Listeria monocytogenes.

Whole Foods Market responded to the Food and Drug Administration’s observations noting that it is taking them seriously and is working to correct the deficiencies. FDA said it does not believe the response was acceptable because it did not provide documentation that it effectively implemented all corrective actions.

June 8, 2016

John Mackey, Co-Chief Executive Officer
Walter Robb, Co-Chief Executive Officer
Whole Foods Markets Inc.
550 Bowie Street
Austin, TX 78703

Dear Mr. Mackey & Mr. Robb:

The U.S. Food and Drug Administration (FDA) inspected your multiple food manufacturing facility, Whole Foods Market North Atlantic Kitchen, 9 Commercial St, Suite 300, Everett, MA 02149-5506, on February 10, 11, 16, 18, & 26, 2016. The inspection found serious violations of the FDA’s Current Good Manufacturing Practice (cGMP) regulations for manufacturing, packing, or holding human food, Title 21, Code of Federal Regulations, Part 110 (21 CFR Part 110). These violations cause the food products manufactured at your facility to be adulterated within the meaning of section 402(a)(4) of the Federal Food, Drug, and Cosmetic Act (the Act) [21 United States Code (U.S.C.) § 342(a)(4)] in that they were prepared, packed, or held under insanitary conditions whereby they may have been contaminated with filth or rendered injurious to health. You can find the Act and its implementing regulations on FDA’s home page at www.fda.gov.

The serious cGMP violations noted during the inspection were outlined on a Form FDA-483, Inspectional Observations, issued to Mr. Brian Corbley, Facility Team Leader at the close of the inspection. A copy is enclosed for your review. Those violations include the following:

1. Your firm failed to manufacture, package and store foods under conditions and controls necessary to minimize the potential for growth of microorganisms and contamination as required by 21 CFR 110.80(b)(2). Specifically, we observed:
On February 10, 2016, you were mixing ready to eat pesto pasta directly under an area in the Assembly Room where condensate from ceiling joints was dripping onto the surface below.
On February 16, 2016, you were storing an uncovered rack of ready to eat mushroom quesadilla in the same area of the Assembly Room where condensate from ceiling joints was dripping onto the surface below.
On February 10, 2016, your employee transported uncovered ready to eat vegetables through a doorway, from the Veg Prep Room into the Prepared Veg Cooler. A significant amount of condensate had formed above the doorway and was dripping onto the surface below.
On February 10, 2016, your employee was cutting chives and beets on a work surface directly underneath a leaking condensate drainage pipe in the Veg Prep Room.
On February 16, 2016, you were holding uncovered ready to eat egg salad in large white barrels that were placed in an area below the condenser. Condensate was observed to be dripping at a rate of approximately once per second from the condenser fan bolts in the K8/K9 Room.
On February 16, 2016, your employee transported uncovered ready to eat couscous through an area in the K8/K9 Room where condensate was dripping from an area around the condenser fan bolts at a rate of approximately once per second.
On February 10, 16, & 18, 2016, you were holding ready to eat vegetables, utensils such as cutting boards, mandolins, stainless colanders and yellow plastic totes in close proximity to hand a washing station in the Veg Prep Room. The hand washing station does not have splash guards and is foot operated releasing water from the faucets with significant pressure causing water to splash outside the sink while employees were observed washing soiled hands. Water splashed onto covered and uncovered ready to eat vegetables, utensils and food containers.
On February 16, 2016, your employee measured the strength of peracetic acid from the faucet in the Veg Prep Room with an (b)(4) Peracetic Acid test strip that indicated its strength over 160 ppm (maximum level on the test strip). This concentration exceeds the maximum level recommended by the (b)(4) product information sheet and the maximum level allowed under 21 CFR Part 173.315(a) (5) for use of peracetic acid for surface treatment and soaking and rinsing of vegetables.
On February 16, 2016, your employee was performing multiple tasks in the Pre-Pack Room including filling and weighing ready to eat egg salad in retail packs. The employee was observed cleaning and directly contacting work surfaces and then packaging and handling exposed product without hand washing or changing gloves in between tasks.
On February 16, 2016, your employee in the Bulk-Pack Room was observed assembling bulk cartons while also packaging exposed ready to eat quinoa cakes without hand washing or changing gloves in between tasks.
On February 16, 2016, your employee in the Pre-Pack Room was spraying (b)(4) quaternary ammonium based sanitizer to clean work surfaces while another employee in close proximity was packaging exposed ready to eat mesculin salad. This resulted in the sanitizer being sprayed onto an open colander of salad leafy greens.
On February 16, 2016, your employee’s unprotected upper sleeves were frequently touching ready to eat leafy salad greens as leafy salad greens were packaged into retail packs in the Pre-Pack Room.
2. Your firm failed to maintain equipment in an acceptable condition through appropriate cleaning and sanitizing as required by 21 CFR 110.80(b)(1). Specifically, on February 10, 2016 we collected an environmental sample (INV 911932), which consisted of one hundred (100) swabs/subs, from food contact and non-food contact surfaces throughout your manufacturing facility. FDA laboratory analysis of these subs confirmed the presence of non-pathogenic bacteria Listeria welshimeri in swab #39. Swab #39 was collected from the internal rotating drum portion, a food contact surface, of the (b)(4) vegetable chopping machine located in the Veg Prep Room. The presence of Listeria spp., such as the non-pathogenic Listeria welshimeri, detected on a food contact surface in your manufacturing facility is specifically used as an indicator for the probable presence of Listeria monocytogenes in your processing environment. This finding demonstrates that conditions exist in and on your equipment that would support the presence and growth of Listeria monocytogenes and indicates that your cleaning and sanitation practices may not be adequate. Your firm should consider improving your environmental monitoring program to verify the adequacy of your cleaning and sanitation operation.

3. Your firm failed to sanitize and thoroughly dry, prior to use, food-contact surfaces which have been wet cleaned as required by21 CFR 110.35(d)(1). Specifically,
On February 16, 2016, you filled the dip tank for soaking sheet pans (used for raw meats and ready to eat in process and finished products) with a quaternary ammonium based sanitizing agent. You measured the sanitizer strength using a color based test strip which indicated the sanitizer strength at 100ppm. This strength is not adequate for sanitizing foodcontact surfaces and the manufacturer recommended limit of the sanitizing product you were using was identified as 200-400ppm.
On February 16, 2016, you measured the sanitizer strength on the spray nozzle located in the dish washing room that is used for filling the dip tank and for sanitizing larger portable equipment such as the rotating blades of (b)(4) machine and Ribbon Blender parts. The color based test strip indicated the sanitizer strength to be 100ppm. This strength is not adequate for sanitizing foodcontact surfaces and the manufacturer recommended limit of the sanitizing product you were using was identified as 200-400ppm.
On February 16, 2016, you did not clean and sanitize the semi-permanent divider curtain in the K8/K9 Room after using a high pressure spray hose to clean and sanitize the ribbon blender and the walls and floors surrounding the ribbon blender.
On February 10, 2016, you were storing various utensils and equipment parts inside containers and on rolling carts that had pooling water in or on them.
4. Your firm failed to take proper precautions to protect food and food-contact surfaces from contamination with chemicals, filth and extraneous materials due to deficiencies in plant design as required by21 CFR 110.20(b)(2). Specifically, we observed:
You failed to keep soiled dishes separate from ready to eat products and you are using portable divider curtains and semi-permanent divider curtains to segregate areas between the dishwashing room entrance/exit doors and the Assembly Room where ready to eat products are assembled. Soiled and insanitary equipment from various preparation processes including holding of raw chicken and turkey were observed touching both sides of the portable divider curtains.
On February 10 & 16, 2016, your employees in the K8/K9 Room used high pressure hoses to clean the ribbon blender and the semi-permanent divider curtains, causing water and aerosolized spray from the cleaning activity to go beyond the portable divider curtains and the semi-permanent divider curtains into areas where ready to eat food such as couscous and salad dressings were being prepared. The portable and semi- permanent divider curtains did not provide adequate protection of ready to eat food when high pressure hoses are used to clean and sanitize clean-in-place equipment and the portable and semi-permanent divider curtains.
On February 10 & 16, 2016, soiled/unclean equipment , utensils and food containers had accumulated beyond the entrance of the dish washing room and portable divider curtains separating the dish washing room and the Assembly Area. This resulted in soiled/unclean equipment, utensils and food containers to be held for an indefinite period of time in close proximity to ready to eat manufacturing activities such as making of enchiladas, mixing of pesto pasta and quesadillas.
5. Your firm’s hand-washing facilities lack running water of a suitable temperature as required by 21 CFR 110.37(e). Specifically, on February 16, 2016 the hand washing station located at the entrance of the K8/K9 Room did not have warm/hot water. Your employees returning from break and other non-food related tasks continued to use this tagged “out of service, no hot water, 2/16/16” hand washing sink before returning to preparing and handling ready to eat foods.

6. Your firm failed to properly identify toxic sanitizing agents in a manner that protects against contamination of food as required by 21 CFR 110.35(b)(2). Specifically, we observed an unmarked drum of an unidentified chemical that was connected to the vegetable preparation sink in the Veg Prep Room. It was verbally identified as peracetic acid to be used to soak vegetables.

The above is not intended to be an all-inclusive list of deficiencies at your facility. It is your responsibility to assure your establishment is in compliance with all requirements of the Act and federal regulations. You should take prompt measures to correct all violations described in this letter. Failure to take appropriate corrective actions may subject your firm and products to further actions, such as injunction, or seizure.

Further, Section 743 of the Act, 21 U.S.C. § 379j-31, authorizes FDA to assess and collect fees to cover FDA’s costs for certain activities, including re-inspection-related costs. A re-inspection is one or more inspections conducted subsequent to an inspection that identified noncompliance materially related to a food safety requirement of the Act, specifically to determine whether compliance has been achieved. Re-inspection-related costs means all expenses, including administrative expenses, incurred in connection with FDA’s arranging, conducting, and evaluating the results of the re-inspection and assessing and collecting the re-inspection fees, 21 U.S.C. § 379j-31(a)(2)(B). For a domestic facility, FDA will assess and collect fees for re-inspection-related costs from the responsible party for the domestic facility. The inspection noted in this letter identified noncompliance materially related to a food safety requirement of the Act. Accordingly, FDA may assess fees to cover any re-inspection-related costs.

We acknowledge receipt of your March 17, 2016 written response to the FDA Form-483 Inspectional Observations, issued to your firm on February 26, 2016. This response states that your firm takes these observations seriously and that your senior leadership is committed to take all the necessary measures to correct all the deficiencies. Despite this, FDA has serious concerns that our investigators found your firm operating under these conditions. Further, your response includes retraining of employees as a corrective action for most of the observed violations but you failed to mention adequate supervision over your specialized food processing operations and how retraining will ensure sustained compliance. We do not consider your response acceptable because you failed to provide documentation for our review, which demonstrates that all your noted corrective actions have been effectively implemented. This documentation may include photographs, invoices, work orders, voluntary destruction records of any affected products, certification of actions performed by contractors, and/or any other useful information that would assist us in evaluating your corrections.

Please notify this office in writing, within fifteen (15) working days from your receipt of this letter, of the specific things that you are doing to correct the violations described above. As stated above, your response should include each step that has been taken or will be taken to correct the violations and prevent their recurrence. If corrective action cannot be completed within 15 working days, state the reason for the delay and the time frame within which the corrections will be completed. Please include copies of any available documentation demonstrating that corrections have been made.

Please send your reply to the Food and Drug Administration, Attention: Scott M. Loughan, Compliance Officer, U.S. Food and Drug Administration, One Montvale Avenue, Stoneham, MA 02180. If you have questions regarding any issues in this letter, please contact Mr. Loughan at 781-587-7619 or by email at scott.loughan@fda.hhs.gov.

Sincerely,
/S/
Joseph Matrisciano Jr.
District Director
New England District

cc:

Mr. Ken Meyer
Executive Vice President of Operations
Whole Foods Market, Inc.
550 Bowie Street
Austin, TX 78703

Roberta Lang, President
Whole Foods Market Group, Inc.
550 Bowie Street
Austin, TX 78703

Ms. Laura Derba
North Atlantic Regional President
Whole Foods Market Group, Inc.
125 Cambridge Park Drive
Cambridge, MA 02140

Mr. Brian Corbley,
Facility Team Leader, Whole Foods Market North Atlantic Kitchen
Whole Foods Market Group, Inc.
9 Commercial St, Suite 300
Everett, MA 02149-5506
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Specialty Food Association Media Contact:
Louise Kramer, Communications Director, 646-878-0130, lkramer@specialtyfood.com
on site press office sat on 212 542 1705