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Bret Primack
Bret Primack

Bret Primack serves as Editor-in-Chief for Jazzplus. His diverse writing experience includes everything from comedy to seminars and for more than twenty-five years, his words have been spoken by actors and executives, and published internationally.

A Jazz enthusiast since the age of twelve, he is the author of nearly three hundred articles about musicians for "JazzTimes," "Down Beat," "Omni," "People" and "Swing Journal." In addition to journalism, he has also written liner notes for such artists as McCoy Tyner, Clark Terry, Ella Fitzgerald, Paquito D'Rivera and Maynard Ferguson.

An interest in drama led Bret to co-found the Jazz Theatre Workshop in 1979, which produced the off-Broadway sensation, "Bebop, The Hip Musical," featuring Gary Bartz, Walter Davis, Jr., and Charli Persip. In 1992, he conducted the workshop at the New School for Social Research in New York, writing and directing two original musicals with students from the Jazz program, "All Saxophonists Will Be Shot On Sight," and "Scenes From A Life In Jazz."

Bret is also the author of "The Ben Hecht Show," published by MacFarland and Company. His play about Hecht's World War II propaganda efforts to save the dying Jews of Europe, "The Pariah," was produced in 1995 at the Schoolhouse Theatre in Croton Falls, New York. Currently, Bret is the Managing Director of the Axial Theatre, based in North Salem, New York. The group produced two of his one act plays in 2000 and he is currently writing a full length play for production in the summer of 2001.

An early adopter, Bret started using the Net in 1994. He served as Director of Jazz Central Station, the largest jazz website, from the fall of 1996 until September of '97 although he was associated with the site since it's inception in 1995, serving as Managing Editor for its debut on the Microsoft Network, and later on the web in early '96. He also wrote and produced the official Miles Davis website.

As the "Pariah," he created Bird Lives in 1997, an issues oriented Jazz site. He reports he started Bird Lives "because I have been working in the world of Jazz for more than quarter of a century and have long wanted to share some of my more radical ideas about the music, and the ugly business that threatens to suffocate this remarkably creative art form, much like a boa constrictor strangles its prey. It is my way of giving back something I've received from the music that has become such an important part of my life."

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