We're forging here, gentlemen.

I mean, it's not like, you know, we're forging metal.

Metal doesn't want to be a bronze.

On this episode of Gallery, what's formed when creative juices flow together with molten metal?

Just may be the next great masterpiece.

The Crucible Foundry and Norman is forging a reputation as the state's hottest commodity.

He's one of Oklahoma's natural treasures.

Harold Holden grew up the cowboy way.

He reaches back to that experience every time his paintbrush touches the canvas or his hands turn a piece of clay into a work of art.

What is it about the West that holds such fascination?

And this is jazz right here.

Nothing like cool tunes on a hot night.

From the immortal influences of Charlie Christian and Jimmy Rushing comes a whole new breed of swinging cats.

Two very different groups of girls dance their way to friendship and along the way discover they're not so different after all.

That looks so good.

It just looks like it's coming from the inside out.

And then when I started to move them around, the images.

Come on.

What happens when you leave home to find yourself and uncover a surprising talent with your own hands?

Follow along on one man's journey into his soul and in this gallery exploring the arts and culture of Oklahoma.

Major funding for gallery is made possible by the Kirkpatrick Foundation.

Advancing Creativity and Cultural Education in Oklahoma.

The Phillips Petroleum Company proudly supporting Oklahoma arts and culture and urging everyone to think smart, think performance, think Phillips 66, the performance company and the Pauline Dwyer, MacLean Berg and Robert J. Macklin Berg Jr Foundation.

Additional funding by the Kerr Foundation Jasmyn and Melvin Moran and Simmons Alspaugh and the Kirkpatrick Family Fund.

We're forging here, gentlemen.

I mean, it's not like, you know, we're forging marriage, forging metal.

Metal doesn't want to be a bronze.

Do you believe me?

Tell me, why.

Don't we go to London?

They will come from.

We're forging here, gentlemen.

I mean, it's not like, you know, we're forging metal.

We are taking metal.

Doesn't want to be a bronze.

He wants some copper, wants to lay in Chile in a mountain in Peru.

Just want to come up here to Norman, Oklahoma, become a bronze.

We take this material out of Mother Earth and we beat it and we mix it and we refine it and we beat it and refine it.

Some more than schmucks like me buy it and we take it and we turn into bronze medal and for artwork of all things.

And Ken and the mill maker here, The Crucible Small Department.

Here's where it all starts.

The artists who bring us an original wax clay.

That's a clay original.

They're a rose.

Once we've decided where we're going to split, it will coat the whole thing with rubber.

And you keep paying cosigner about every hour to about eight or ten coats.

The rubber part's done.

After that's done, we build a plaster shell on top of the rubber, split the plaster off, cut the rubber off while I have them all.

We take that out and we turn it with molten wax.

We pour the wax into the mold and then we pour it out.

And we do that two or three times to build up again another nice thickness.

Once the wax has cooled and formed a hard shell, we open the plasters and then we peel the rubber off.

And while we have a wax image that is replicated from the original, right now what I'm doing is wax chasing whatever.

I fake the wax and it goes to the deep room and then the casting bronze and then that's the shape you get.

So it needs to be as perfect as possible that that's the thing we deal with right now.

Sculptors, a lot of our clients are renowned that are, you know, going to go down as the this is the greatness of Picasso, Monet in their time.

I'm serious about when we're all dead and gone.

Some of the people that I work for right now will be hands for take their place.

In this business room that's way past just enjoyment I would rather sculpt than, you know, to go on vacation a lot of times, you know, I do enjoy it.

And it's it's fulfilling to see a piece of sculpture start to evolve through the clay stage and, you know, where you've taken just pieces of warm clay and applied it onto a metal armature and to watch it take on life and take on a lot of character, we feel as a sculptor in Oklahoma, I consider myself extremely fortunate to have a foundry such as a crucible.

You know, here locally, the one thing that I really feel fortunate about is that they're able to cast extremely large pieces, which means on a piece the size of Johnny Bench, they'd be able to cast about eight pieces compared to about 40 that another foundry be casting it in.

And that may not mean a lot to, you know, the average person, but to myself it means I have less areas that the foundry will be chasing or, you know, grinding and match and texture of it.

And it leaves more of my texture and my form, you know, on the sculpture.

So also, if it wasn't for the quality of the foundry that we have here in Norman, you know, not only myself, but also my students wouldn't be able to do all the work that we're producing in the last three years.

We produced over 50 pieces of public art, and a lot of it is due to Mark and Steve Palmerton.

Not only does it take labor to do it, but it takes man or woman to build it to make sure it goes smoothly.

So it's very draining emotionally.

It's hard work.

It's miserable work.

After that is done, the best shell is made through multiple drippings of the ceramic shell.

Now, what we have to do is we have to melt the wax away.

So we take these shells out of ceramic colonial silica and we'll put them in a very hot kiln.

And around 1800 degree degrees, we will melt the wax away after the shell has been cooked for about an hour and it's got a nice thing to it.

We'll take that and we'll patch the holes and we'll check it over, make sure it's in good shape to receive molten metal.

Now that's three men on the two ton hoists.

They pick up the ladle, they take it over to the induction furnace that will be filled up with molten metal, which is about approximately £150.

The cage is pulled out with the shells and the three men, as you saw earlier, will do their dance around the cage and fill all the shells up with molten metal.

No, no, no, no, no, no, no, no, no, no, no, no.

I'm okay.

We let them cool for about a day comfortably and we like the metal shrink by itself after it shrink properly, we will take air hammers and chisels and sledgehammers and we'll beat the investment off it.

And then we'll sandblasted to clean the metal after the metals clean.

And we will take grinders and again metal tools and we will remove all the blemishes or screw up from the metal holes, whatnot, will clean it all up and we'll put these big pieces back together again so that after it then welded and completed and traced to the artist's vision.

This is it looks really good to me.

Then we have to color it, which is called patina.

And that's your finished piece now, I just told you about eight months worth of work.

It's like Garth Brooks writing his first hit single, Here's My Chance.

Now, what can I do after that first hit?

Single I got my hit.

Single is my building.

That's what I that's my that was my first gold record.

Now, what can I do?

Do I want to be like three dog, nine, write a whole bunch more.

I want to be like some schmuck that wrote one.

And that was this entire career.

You build the founding, my friend.

So you build a good one.

They will.

They will come.

They will come.

Is at this at.

Risk elementary.

Teachers couldn't reach.

Many students.

Until they began to teach with the arts.

And the whole school blossomed.

Yet there are many.

Stories where bringing the arts back to school produce dramatic turnarounds.

Call now help give.

More Oklahoma kids the arts power they deserve.

And be a part of something big.

Oklahoma's future.

It's a different type of life.

And I think everybody that stays in a you know, loves it.

Even though, you know, the ones that are really hard of hard work and playing, they wouldn't do anything else.

I think everybody comes to this this genre of art, this thing called Western art, with different expectations.

Some want to come away with an experience of simply reviving that kind of romantic spirit that the West held for them, whether they're viewing contemporary art or whether they're viewing a big landscape painting by Albert Bierstadt or a wonderfully romantic scene of Indian life by Charles Russell, they identify with the grandeur of the West.

They identify with the grandeur of that American myth that is evidenced in these paintings.

Western art has a lot to do with those virtues that we all like to apply to the American people.

It shows a vast landscape.

People, individuals who possess all of those virtues of honesty, hard work, and all the kinds of characteristics that we would like to apply to the America as a nation.

Names Harold Holden.

I've been doing this kind of art for 35 years.

This is a pattern of a piece.

Cole Wrangler goes to the piece with the two horses and rope on one of them.

This is the top half of the man.

The bottom half not on there yet.

I live up in the Kremlin area, but I'm born here, named and my subject matter is kind of the way I live.

So that's why I do the cowboy mostly.

And I that's my inspiration.

Anyway, I don't have any desire to paint flowers or or just landscapes alone.

I like the subject matter, so.

Harold is an interesting person.

Harold is cowboy was a cowboy, I presume he doesn't have that much time now, but because he is is has grown in popularity in areas here.

But he he is he is the kind of person who understands the the ranching roots of many of the things he does in young people can learn a great deal from someone like him on the techniques of sculpture, how to deal with it and so forth.

Some days my work will be looked at and by cowboys or historians, and I will look at something and they'll say, Well, that's not right.

You know, that wasn't like that.

But, uh, try and have a balance of good design art and, uh, and authenticity.

I mean, you can't just have authenticity and have a crummy piece of art.

I have to put these on and I can see to it.

The Western art itself has gotten so much better.

Uh.

You know.

Like an older, earlier day, there were just a few of the Western artists, the Russells, the Remington.

In my role as curator in various museums, I have had an opportunity to research and write about a number of important Western artists, particularly my expertize is in the works of Frederic Remington, but I've also written on on Charles Russell and I have written books on the landscape artists in the 19th century, Albert Bierstadt and Thomas Moran.

I think Western art is a place, a remarkable role in terms of public education, because Western art is so inviting, often because of its sort of mythic qualities or its romantic essence or it just invites people to get involved in its narrative essence in the stories that are being told.

And so it's an interesting way for people who would be kind of turned off a little bit by art itself, say, well, I don't know anything about art, so I certainly can't enjoy this work of art.

Well, these paintings and these bronzes often will invite people to say, Well, I can I can enjoy this because I think I can understand sort of what's going on here.

And so it's is a way of inviting people to get engaged in the larger implications of what art is about.

I think those those two guys were probably the influences so many.

One of my big influences was a guy named Will James, who was a cowboy that wrote books.

Also.

And I thank you for talking about Tom Love over just a couple of years ago.

He was a great illustrator from the East, a huge career in illustrating before he ever started painting the historical West.

And all of his paintings are historical, you know, they tell stories.

I think it's just a matter of time when you have pieces of Western art in major museums that appeal to and there probably are a few.

But of the old master, you know, didn't rattle, you know, there's Remington rustles in the White House.

But that's another thing that a lot of people know that have their houses.

I said, Well, my house, not Western, you know, so they wouldn't do in my house.

But it was the White House Western.

There's a Remington bronze in there.

There's a Russell painting over there.

And so I never noticed that the White House was the Western House.

You know.

In the gallery, the wood on the wing exhibit.

Visitors to the lobby of the Phillips Petroleum Building in downtown Bartlesville can see one of the world's most unique collections.

Since 1979, Phillips has purchased the best and Gulf South Award winner of the Louisiana Wildfowl Carvers Festival.

Artists spend hundreds of hours painstakingly carving each piece from wood.

The entire collection, valued at more than $1 million, moves to the Noble Museum in Norman for 2002.

A child who achieves on a musical instrument or in dance or even visual arts, drawing, sculpture, they all of a sudden feel a self-confidence that they didn't have before.

And this self-confidence is just radiated not only in what you see when you look at them physically, a happier, happier student, happier child, but also what they do in the classroom, a shiny peek at step left and then change direction, a peak on the peak section.

Other shiny.

I want to see you go down to go up for that peek.

You're just staying up and it's kind of losing the dynamic of the movement.

My name is Susan Webb, and I have a dance school in northwest Oklahoma City.

You're going to go to the center person.

So whoever it is and we try to create a positive and nurturing environment for growth in dance, considering the well-rounded human being step up, facing upstage right from where you are.

Somehow I feel that today the arts are undervalued and we've seen a lot of violence in high schools and and things.

And I think that if we can reinstitute the importance of the arts, that children will have an outlet for their energy, that they possibly don't have any other way these days.

Green Shana?

Peak Well, my name is Melissa Beck.

I have been dancing for 12 years of my life.

I've been with Susan for about ten and 12.

And then you face center and you face center while dance is extremely important to me because it's my way of self-expression, it's how I express my soul.

It's how I contribute to the world.

Remember, we're not a marching band.

Melodic piano.

It's a jazz.

What?

Let me see those hips.

Do it for me.

Just walk around, do jazz.

Walk for me.

The performing arts are a means to express my soul through the movement, and that's what we really try to and allow the students to experience.

And it's so easy to focus on just the technique, but it's the spirit in the movement that makes a difference in people's lives.

Yes.

One, two, three, four, five, six.

Your is going to circle over your head, ladies.

Shimmy and shimmy up and go to the chorus.

One, two.

I'm Cara Harvey, and I teach dance at Capitol Hill High School.

I am in charge of the POM team and also the dance diversity dance company.

Again, okay, again, energy.

But keep me coming in.

I'm sorry if I don't come.

As I was calling.

Melissa and Melissa enjoyed dance.

She wanted to be at dance and her attendance at school has improved.

Her grades have improved.

She has more meaning and purpose to calm down.

Jenny.

When I was in intern team, I am the one to come to school.

No, I didn't.

I just didn't look forward to.

And then.

Now that I'm in Compton, I enjoy it.

And I want to come every day.

Okay, girl can't go in and just say I'm a singer or just say I'm a dancer.

Melissa is going to be able to dancing and act.

So I hope some day this helps her build a foundation that she can look back on and say, that's what helped me get here to L.A. and go soon.

I do everything else.

But I suppose there are more cookies, Sera.

I'm sure that it is all in to your job is to.

Vitamins and.

Needles equals monkey sera Omar dignity, Jackie Conmigo That looks so good.

It just looks like it's coming from the inside out.

It is really beautiful.

So yeah, I love it.

This is our second year of dance diversity and concretely I can see a sense of community develop.

One, two, three, four, five, six.

Next group.

One, two, three, four, five.

We were discussing problems between the two of our teenage groups that we had and one day we just said, Why don't we get these two groups together?

And maybe they can learn from one another?

And we brought them through the, the common likeness that they both enjoyed.

Dance Why do you think they're more experienced than us?

I mean, we've I've taken dance like three years and they've been there for like since they were like two or three.

And in my experience and we learn from them because they have been around people a lot and they just like we were nervous, now they really help us.

So nervous you can do it.

At first I was like, Well, these girls are going to be a lot different than us.

They're going to be they're going to have different attitudes.

They're going to have different clothes.

They're going to act differently.

And, you know, we're going to be those rich or about it, you know?

And it was completely not true.

It was very we mixed very well a smile.

And home then got mad.

Okay, well, this is a new piece.

And are you all nervous?

Yes.

Now, that's good.

Yeah, that's good.

A little bit nervous.

Just keep the sequence in your head.

But most of all, I want you to think about the spirit in your heart.

Because if we just get out there and do dance steps as a dance recital, and to me there's nothing that is dance recital ish about dance diversity.

My angels around me right now, please, we can go.

And we've seen this program start from nothing and it's become something within a short year and a half.

We don't have any funding.

We started out dancing and barefoot and old shorts.

So these girls have made something for themselves to be proud of.

Why that is, I really want for them to have compassion in a world that is growing.

Compassion less.

I want them to be able to see other people and to step outside of how they feel and to see what is right and to make good choices based on a bigger picture of the world.

So this is.

Jazz right here.

Everybody just moving.

Musicians first move and everybody has a first.

Move with people dancing.

It's just just infectious.

Jazz, I think, is is the defining personality of American music, if not American art.

Fine in the deep deuce area and Oklahoma City served as as one of the prime influences in the development and artistic as well as as public understanding of and acceptance of and enjoyment of and appreciation of jazz and the youngsters around here, the Jimmy Rushing and Charlie Christian baby.

They were highly popular and well known nationally in the Deep Deuce area there in Oklahoma City.

Served almost like a music school.

Oh, hello.

My name's Stephen Pruitt.

And I'm a drummer here at Jaco.

My name is Nathaniel Medlin.

I'm from Hutchinson, Kansas.

I came down here because the the Jazz program and the trombone program are both top notch camp kid.

Well, he's a he's a world class trombone teacher.

And I'd been to a jazz camps at Boulder, Colorado, for a couple of years and heard him play.

And I knew that he was a guy that I wanted to study with.

And we try to cover as much as we can for the students.

Uh, in their education.

Of course, the main thing about jazz is, is it's improvizational in nature that is making it up as you go along.

Instant composition, and that's very difficult for.

So it's not just sitting here and playing bunch of notes, it's playing what you generally feel that your heart is telling you to do.

I mean, you're you're playing what you feel and you're not letting anything get in your way.

Three I wanted to show Improvization isn't new to music.

I mean, Bach and Mozart were improvisers, but, you know, Improvization kind of fell by the wayside in classical music and jazz, kind of brought it back to the number one motivation that has kept me active in jazz is playing this stuff.

I mean, there's nothing more joyous and more fun.

And then to be in a good session, it's a bridge for the Damon family not to play my favorite Bill Hersch solo there.

Merry go.

Time for the forum.

Just me and Kristen.

All others come in when you're ready from home.

Another thing that's kept me in jazz is the enjoyment I get in passing it on to students.

I had a lot of help as a youngster and people coaching me and playing for me, and now we must do that to the younger generation.

And I'll tell you, once they once they get by the jazz band, it's terminal.

That.

That'll do.

That'll do.

Do is is fun because it is kind of an outlet.

It's creative, it's real kind of mellow and some really great musicians to play with and it's just a really fun environment to plan.

And anybody that wants to, you can have something relevant to say in jazz.

It's a beautiful thing and it's art, and art needs to survive without art.

What do we have?

Without self-expression, without individualism?

Then?

Then what do we have.

Up over in the gallery?

The Oklahoma Jazz Hall of Fame.

Tulsa's Greenwood District has long been associated with Oklahoma's rich history in jazz, and it's the perfect home for the Hall of Fame.

Several Oklahomans are honored.

Charlie Christian created a whole new sound when he invented the electric guitar.

And for ten straight years, Jimmy Rushing was voted the best male vocalist in the world.

You'll also learn about Hootie Machine, Barney Kessel and other Oklahomans who've helped make jazz what it is today.

It's arts education builds brain power with it.

Children learn faster, test higher and go further.

But in many Oklahoma schools, the arts have.

All but disappeared.

Now you can help.

With 500 ways to arts.

Power.

Our schools, our teachers, our future.

You really never return home.

The places that I enjoyed and I know that I was at the time disappeared.

The only in my my thoughts and in my hard work.

Now I might not.

Yeah, you grow up, you grow up and you lose your innocence.

You find out that the world is not the way it was.

And Sandy.

Came out and.

Tried to recapture the same ground by trying to come home.

The only way I can come home is in my memory.

And now, in my world.

Wants you to be a good, safe community.

Of over 5000 people, we had at least five or 600 voters in this neighborhood.

It used to be a pathway right here.

You walked on to get to my aunt Nick's house and uncle while this place just a bad neighborhood to be in.

But we went from mayor, from Reno, from past sixth Street, from Avenue J.

This is my the place that my grandfather stayed at.

And then once they started buying us out, it then went down from the houses on Avery Street.

Now we got about three or four houses on three streets, but nevertheless, the neighborhood is still going on.

I lived the one for life in Oklahoma and Sandtown was part of it.

The people that lived here worked for the meatpacking plant, and they used to go across the river to to work at the meatpacking plant and what we call packing town.

And that's the stockyards.

And I used to scare me down in River Bank, and we used to shoot frogs and chase rabbits and squirrels and snakes.

This is what I tried to maintain in my work because I want to revisit the place that way I can look at that and think of all those magic moments I had as a kid here.

And you try to return to the to the point in your life when when you thought everything was good in life, you know, so what my heart does, it returns me back to my innocence, you know?

And you'll see that in a lot of my work, just looking at what's here.

This is the only thing that I think that was here.

It was this tree and it was much smaller than this.

But the houses, the houses like that house there, that that remain the same.

That is just about the way it looked when I was a kid.

To me, it was kind of like bones that they used to.

It was put together like a sculptor would do it.

And I always I always like the way they look.

A different colors, just a real nice piece of artwork.

This artist, Melvin Smith, used to live in a house just like this.

Just down memories from his childhood.

I left home in 1959 and I joined the service and I and I didn't come back until 1997.

It's good to have somebody to realize and come back home to do something for the old neighborhood.

I'm a self-taught artists and I think it's just from found experiences.

The ones that I would leave.

We don't want to come back, but I think God from it may have been doing a wonderful job.

My mission is that it is universal and I think it is.

I think that I think that again, I think we all experience the feeling of that.

You know, of loneliness.

I think we are all in touch by that.

I think we most people, again, come from some.

Somewhere in your lineage, there is there was poverty.

If you live in America becomes raw family didn't come to them that since I've been here I've had several of several people from different ethnic backgrounds to say that I came out of a house just like that.

And it lets me know that my work is universal from it.

But I remember being in my my grandfather's house and it was after my my dad had passed away and I had flown down here to to the film.

And the room was packed with a lot of people.

And someone asked me a question and I started talking and he started to cry and my grandfather started crying.

And so my Aunt Lou says, Poppa, Poppa, what's wrong?

I mean, why are you crying?

And he said, it.

I shake his voice.

That boy sounds just like his dad.

He look like him.

You talk like him.

He just.

He's so much like his dad.

It's just like his dad's in this world.

It's the same wallpaper that was in the room at the time that he made that statement about.

Me and my dad.

And so this thing that touched me so that and that I had to I know he came on my work like this.

I like how it sets off the but it look really different.

If he had said it flat in a painting.

But since it's 3D, it's really different.

You know, your mom's always telling you stories of, you know, when you were a child about how they grew up in Saskatchewan, actually seeing it in actual form like this really makes it real for the kids.

I think.

I'm a collages, but I think because everything I do is really collage, it made it still I'm still a sculptor, but it's it's based on collage.

I went from doing flat stuff to to objects protruding from a surface to just the object itself, just a piece of sculpture, which is what fine objects are.

The fine object is, is the mass.

This is my friend Melvin Wilson.

I like to smile, and that's what drove me to create a piece of artwork of it.

This is my big brother, Robert Victor.

He's the symbol of our family.

This is my dad.

And I liked the sculpture look of her face.

She had those African features that were really beautiful and I liked her and that's why she's in my work.

And why I do.

I do.

They just pop up into my work.

I really don't have no designs.

I people seem to have been important to me in some fashion.

Another, whether they were strange or not, giving to me or touched me in some fashion, they become part of my work.

There's no such thing as a junkyard.

This is a oh, it's a pleasure place.

I've never seen a junkyard in my life.

I saw a place that had a lot of important pieces of of items that could go in a piece of nice artwork.

Oh, yeah, very well.

My masks are pretty much what I consider a found objects I got to make into something here.

Yeah.

When I go into the junkyard, it's kind of like being in a spiritual place to me.

I less over here.

Well, I'm.

I'm kind of.

I see something here.

I'm just the form and the colors really excite me.

Sometimes I can see a color, it can be a shape.

It can be all kind of idiosyncrasies that this person that I saw in this person and then I might see it in this this mass of filling in this filling in these foreign objects.

And I go from there, well, I'm seeing the image of a mass of I'm satisfied with what I see.

I like to this here is a sweet little part of it.

I just set out to collect items that I like, you know, pieces and shapes and colors that I like.

And then and then when I start to move them around, images come up.

Mm Yeah.

And this is a key for my, although it has that same kind of flair about it that the piece class in May, this is a nice piece I think it demands of I don't look at this just nice pieces collage and found objects and assemblage it gives me a chance it's a it's was part of a exploratory journey that you take when you do that kind of work.

You know, that's what's a one of a kind this fit of pleasure that I have when I go to these places.

And I'm never I feel like I'm never bored.

So I'm off to myself.

I just love it.

I know.

Found objects.

It's it's all based on the artist's selection of items.

And that's a very personal thing.

And, and that comes from personal experiences.

And that's what you are expressing personal experiences.

And, and I guess if you have personal experiences that you can relate to in a junkyard, this is the place to come.

And I and I can relate to the things with my personal experiences and I can get ideas from, from being in a gym.

I'm looking for the spirit of the person.

I, I feel that one side I do a piece, I can capture their spirit.

I found the rest of it.

They should complete the project.

It should make a very nice know.

Most communities, most states are using African artifacts to represent African American culture.

We need to be represented as a culture.

Also, African-Americans, we are a unique people and we have our own culture.

And it's not African.

It is African American.

And that should be recognized and not be replaced with African artifacts.

Look how they did.

The lives you see so you can be creative.

Discuss you think something is not real.

Other people think of real attractive.

You see how these things have different.

I want them to be touched by the fact that.

We are all humans.

We're all here in this world alone.

And we're all touched by that universal feeling of being in this world alone, by the world, made a fantastic baseball player, and he went off and tried out for the Kansas City Monarchs.

He made the team, but he had five kids and they didn't pay a lot of money in those days.

So he had to come home.

So this piece is is is a heartbreaking piece because my my dad's dreams were not fulfilled and and it showed every day know every day we live with and we experience a man that really was hurt by not fulfilling what he wanted to do in life.

This is my mother.

Her name was Fannie, and she was married to this baseball player that wanted to play baseball.

And he had kids and he was miserable and her life was miserable because of that.

She had a pretty miserable life.

But she loved my dad.

They loved each other.

But there was tension simply because he was there and he wanted to be somewhere else.

That's probably the most painful part of my life.

His early death alone.

I'm a my ideas come from my life experiences, which means then it all started from Phantom.

In the gallery spotlighting our featured artists.

You can see the works of Melvin Smith and his wife Rose at the Oklahoma Museum of African-American Art on Northwest 10th Street in Oklahoma City.

They're also featured at selected showings around the state.

And once you become a musician, you just have to work at it.

Concentrate on the University of Central Oklahoma's jazz band performs regularly concerts on the Edmond campus and at events around the region, making the redevelopment of Oklahoma City's deep blues neighborhood is well underway.

Loft apartments, shops and maybe even a jazz club will open their doors next year.

Harold Holden has completed eight public monuments.

Six of them can be seen here in Oklahoma and Stockyard City, Altus.

And in it, smaller versions of his artistry can be seen in shows and exhibitions across the West.

You can learn more about the history of Western art by visiting the Charles M Russell Center on the new campus in Norman Dance, Diversity hopes to be even more diverse in the future.

Organizers are seeking a grant to fund more performances, better equipment and more elaborate costumes.

The Crucible Foundry will be casting Paul Moore's Johnny Bench, which will then be unveiled at Oklahoma City's Bricktown.

Mark Palmerston's crew will also have a hand in topping off the state Capitol Dome Gallery exploring the arts and culture of Oklahoma.

Major funding for gallery is made possible by the Kirkpatrick Foundation.

Advancing Creativity and Cultural Education in Oklahoma, the Phillips Petroleum Company proudly supporting Oklahoma arts and culture and urging everyone to think smart, think performance, think Phillips 66, the performance company and the Pauline Dwyer Mecklenburg and Robert Hay Mecklenburg Foundation.

Additional funding by the Kerr Foundation Jasmyn and Melvin Moran and Simmons Alspaugh and the Kirkpatrick Family Fund.

Louis Armstrong once made the statement.

He said, Maybe you can't sing it, you can't play it.

Somebody said, How do you learn to play jazz?

He said, You began to ask that question, Honey, you don't know how.

Okay, here's the here's the first inning.

Start right on the first inning for me.

Garrett Double, double, double, double, double, double at that spot.

Okay, here's the first time.

Peanut butter, peanut butter.

Ready?

And I go and scrub and I never have never done it wrong.

So, Jason, play your course at Jay for us, please, with the pickup.

Ready and go.

And that that's it.

That's it.

Kind of let your fingers do the tongue in there.

Don't let your tongue get too active.

After the initial attack, the trap.

Once that way, don't turn the second note.

Just be real precise with your finger articulation ready and go and that's the idea of better work.

That'll work.

See, you get there with the three.

Okay, do it again.

Ready and go and do another shot.

That was more like it though.

Already ready and go and that is I look, pal, you want da da soft tongue air column push down, down and try my good.

Yes.

So that was good start.

I'd like to have heard you make that last a little longer.

If you would like a VHS copy of this episode of Gallery, send a check or money order for 20 to 95 to the PTA Foundation.

Post Office Box 14190.

Oklahoma City, Oklahoma 73113.

Or to order with a credit card call one 800 8796382.

During regular business hours.