By Chris J. Walker
Live ‘Music at the Odyssey’ series:
Jack Keller’s Ethereal Cereal and
Odyssey Theatre Ensemble present
‘The Music of Roy Ayers’
Jack Keller’s Ethereal Cereal and Odyssey Theatre Ensemble present The Music of Roy Ayers — Funk, jazz and hip-hop bass player Jack Keller and his music collective Ethereal Cereal pay homage to trailblazing composer and producer Roy Ayers.
Ethereal Cereal is a collective that performs a blend of funk, jazz and electronic music.
Jack Keller has recorded bass and played live with artists including George Clinton, Fred Wesley (James Brown, Parliament funkadelic), HR (Bad Brains), Norwood Fisher (Fishbone) and Frankie Kash Waddy (James Brown, Parliament Funkadelic, Bootsy Collins), to name a few. He studied jazz bass at California State University Northridge.
Kicking off Disney Hall and the Los Angeles Philharmonic’s Duke Ellington Festival was Robert Glasper Reimagines Ellington. Iconoclast Glasper, a four-time Grammy winner, and also an Emmy recipient, whose work spans jazz, hip-hop and R&B was the perfect choice for reaching younger, non-jazz listeners. Significantly, he also has the high-caliber chops to play and follow his creative impulses. The first indication that this wouldn’t be your father’s or grandfather’s Ellington concert was the inclusion of DJ Jahl Sundance who spun tunes as the audience entered the hall and then interacted with the bandleader and crew throughout the show.
Notably, it was Martin Luther King Jr’s. birthday and also the keyboardist/composer/producer’s first time performing at the renowned concert hall. In his typical fashion he cracked jokes, including finding his band members on the street and conning them to play that evening. Damion Reid-drums, Bilal-vocals, Keyon Harrold-trumpet, all longtime friends and associates took it in stride.
The group eventually got down to business with Ellington’s signature “It Don’t Mean a Thing (If it Ain’t Got That Swing)” done as a vigorous neo-bop jam, highlighted by stirring singing, fiery trumpet and drums, and Glasper’s 21st century phasing. In contrasting starkness, bass solo intro for “In a Mellow Tone” with Bilal’s velvet singing and scatting, and Harrold’s glimmering trumpet joining in, along with the bandleader playing and soloing conventionally.
Glasper quickly returned to modern day approaches by solely playing “African Flower” melded with electronic reverberations and fragments of Ellington speaking about jazz along with others commenting about him in a stream of conscious soundscape. When alto saxophonist Terrace Martin, who Glasper credited getting him on Lamar Kendrick’s groundbreaking Pimp a Butterfly recording came on stage the intensity was stepped up. With the other players they jumped into a raucous and exhilarating version of “Take The Coltrane.”
The second half of the program included the String Candy Orchestra conducted by another longtime Glasper associate, bassist Derrick Hodge, who also did all the arrangements. For the occasion, Glasper changed from his standard Levi jean jacket to a glittery jacket that drew shouts of approval from the audience. The bandleader declared, “The mere fact that Ellington existed, is the reason I’m existing in this music. You have to understand, back in those days Duke Ellington took chances that nobody else was taking and we’re taking the same chances.”
With that in mind the orchestra created a lush backdrop for the pianist to adventurously intertwine with them as his DJ injected electronic effects for “Take The A Train.” “In a Sentimental Mood” featured Bilal sweetly singing. A comical sparring exchange between driving orchestra and Glasper for “Satin Doll” blossomed into a thrilling performance culminating with a dramatic drum solo.
DJ Jahl Sundance’s role came into full prominence as he interlaced spoken word snippets regarding social injustice, along with a roll call of black people unjustly murdered by law enforcement in recent years. It was an extremely powerful segment that received a standing ovation. The concert could have easily ended there and continued with orchestra and band playing one of Glasper’s thematic funk grooves.
Come Running To Me
Tank And The Bangas
The Charnett Moffett/Jana Herzen Duo, comprised of veteran musicians—bassist Moffett and guitarist/singer, also President/Founder of Motéma Music did a four-concert residency in January at Catalina. With seven recordings together, ranging from duo projects, band collaborations to solo projects over 12 years, the artists had a wealth of material to choose from. They effortlessly flowed through jazz, world, fusion and even folk with virtuoso playing and heartfelt singing.
Moffett and Herzen began with aptly titled song “We Are Here to Play,” a free-range Middle Eastern styled exploration with ample space and freedom for the players to intermesh and amazingly solo. Bright New Day title track of a CD Moffett released several years ago continued in that mode and showcased the duo jamming away.
Herzen alternately selected serenading “The Man In The Moon,” which she recorded over 20 years ago and featured her soothing singing with the bassist injecting dazzling runs. Solely, she sweetly rendered the immortal “Somewhere Over The Rainbow” to truly astonish the audience. “A Little Faith” spotlighted her up-tempo strumming and singing, with a folky vibe grounded by bass. Most significantly, she reprised Cesária Évora’s morna immortal “Sodade” in Portuguese to thoroughly captivate the show attendees.
Moffett highlighted relaxed and thematic “Innocence of Truth” to create a transcendental atmosphere. New Love the bassist’s latest album and title track showcased his formidable playing, along with gentle singing, supporting vocal choruses and zesty fretwork from Herzen. Alternatively, instrumental “Jazz-Free” was a high-energy and tasty romp. Bringing the engaging show to an end was a Gábor Szabó-like jam piece to showcase their talents individually and collectively. For more info go to: https://motema.com/ and http://www.catalinajazzclub.com/.
The second concert of Disney Hall and the Los Angeles Philharmonic Ellington festival focused on the composer’s symphonic works. According to program notes the composer/arranger/bandleader/pianist first explored this avenue of expression in 1931 with “Creole Rhapsody.” In 1943 he returned to the format with his monumental and ground breaking Black, Brown and Beige Suite that was created for his orchestra’s Carnegie Hall debut. Neither the jazz or classical communities knew what to make of the tour-de-force performance. Ellington, of course was way ahead of his time and later made modifications to make it more appealing and accessible, along with composing other works. There has been revived interest in them since the 1960’s and probably is at its highest level presently.
The LA Philharmonic conducted by Thomas Wilkins delved into Symphonic Duke Ellington, beginning with his Night Creature Suite that some dance troupes have converted into a dance celebration, such as the Alvin Ailey American Dance Theater and other companies. It was thematically grand and stylishly swung through movements “Blind Bug,” Stalking Monster” and “Dazzling Creature” as the orchestra majestically rendeed the segments to draw a standing ovation.
New World A-Comin’ was created by Ellington for his second Carnegie Hall show and not as daring or lengthy as B, B & B. The composition inspired by author/journalist Roi Ottley’s book of the same name that documented African Americans in Harlem during is Renaissance (1920’s to mid 1930’s). It was highlighted by pianist Gerald Clayton, whose playing was commanding and elegant, while being not overshadowed by Wilkins and the orchestra. They, however did inject dramatic flair and fullness into the composition.
During the second part of the program B, B & B was abbreviated to the very explosive and celebratory “Black (A Work Song),” deeply revering “Brown (Come Sunday)” Ellington’s best-known song from the work and festive/high stepping “Beige (Light).”
Suite From The River commissioned by the American Ballet Theatre and Ailey in 1970 was one of the last of Ellington’s works before his death in 1974. Unlike the previously featured compositions this four-piece suite was classical oriented, modern sounding with only slight hints of jazz and instead enhanced with triumphant soulfulness. For more info go to: www.laphil.com.
The third and final leg of the Disney Hall and LA Phil’s Ellington Festival was Symphonic Duke Ellington: Sections from the Sacred Concerts. Ellington first composed this collection of compositions and songs in 1965 for the grand opening of the famed Glide Memorial Church in San Francisco. The composer/bandleader/arranger in typical fashion augmented it with the Second Sacred Concert in 1968 and Third Sacred Concert in 1973. Overall, he considered the body of work “the most important he’s ever done.”
Conductor Thomas Wilkins and orchestra returned to Black, Brown and Beige with “Black (A Work Song),” “Brown (Come Sunday) and “Beige (Light)” for the opening selections. “Solitude” originally composed in 1934 had a similar framework but was much shorter and somewhat ethereal. For the audience, the most exciting and understandable moments of the concert began with “David Danced” featuring Emmy-nominated chorographer/dancer/actress/producer Chloé Arnold. She amazed and excited the audience with remarkable tap dancing, intermixed with exultant individual and collective singing from the 12-person choir, in addition to the orchestra’s engrossing backdrop.
During the second half of concert the choir and the LA Philharmonic came together —creating an entertaining amalgam of gospel and symphony that swung. For added soulfulness and rhythm pianist Gerald Clayton (not mentioned in the program notes or announced on stage) returned in a supporting role. Bold and jumping “Ain’t But the One” was highlighted by veteran R&B/pop backing singer Gene Noble. Clayton and trombone set the stage with orchestra for “Tell Me it’s the Truth” gloriously sung by Kyla Jade, an accomplished solo performer.
The Sacred Concert continued with Sy Smith best-known for working with trumpeter Chris Botti, serenely sang “Heaven” boosted by a tenor saxophone solo. Lightly swinging orchestrated “Something Bout Believing” featured the full chorus with Aja Marie Grant, a professor at Biola University in La Mirada leading. Singular devotion was beautifully heralded by jazz/gospel veteran Aretha Scruggs with flowing symphony for ballad “My Love” that received strong crowd reactions. In a more soulful vein Jamal Moore, whose work ranges from Kenya West to Wynton Marsalis sang with jubilant orchestra backing “Ain’t Nobody Nowhere Nothing Without God.” Bringing the deeply religious program to an end was author/Grammy-nominated Ashley Támar Davis’ rocketing singing for “The Majesty of God” with robust choir backing to draw a standing ovation. For more info go to: www.laphil.com.
Sugarbrain (Official Music Video)
Chicago Experiment/Greg Spero
Hope Or Less NPR Live Session
Santa Fe’s Grammy award nominee Ottmar Liebert and his band Luna Negra are coming to Southern California. Liebert is a five-time Grammy nominee, and as a skilled practitioner of contemporary flamenco guitar (nuevo flamenco) he is always a surprise. His band consists bassist Jon Gagan and drummer/percussionist Robby Rothschild.
Ottmar Liebert has kept himself busy during the past 2 challenging years.
Along with an art+music collaboration with the Dallas Museum of Art, Ottmar and bassist Jon Gagan recorded two versions of a new album called Vision 2020 and Vision 2020 (Lockdown version). And most recently Ottmar recorded another new album, called Bare Wood 2. Liebert’s albums are available at Bandcamp: https://ottmarliebert.bandcamp.com/releases
Ottmar Liebert & Black Moon
Canyon Club-Agoura Hills
February 10th, 2022
February 11th, 2022
The Canyon – Agoura Hills – Events – Where Music Meets The Soul™ (https://wheremusicmeetsthesoul.com/canyon-agoura-hills/events/)
The Canyon – Montclair – Where Music Meets The Soul™ (https://wheremusicmeetsthesoul.com/canyon-montclair/)
Django Reinhardt’s influence and impact on jazz and other genres is monumental and continues to grow almost 70 years after his death in 1953. One of the most serious of the guitarist’s legion of devotees and practitioners is Frenchman Stephane Wrembel, who presently lives in New Jersey. At Theatre Raymond Kabbaz (TRK), the guitarist appeared with his band, consisting of local musicians Tommy Davy-guitar (also a Reinhardt discipline), Felix Kochendofler-bass and Luanne Homzy-violin. Before the music got underway, several things became vividly clear: Wrembel is very verbose, funny, a Reinhardt encyclopedia and into philosophy (Plato, Kant and Nietzsche).
The concert was divided into three sections: the guitarist playing solely, Wrembel and rhythm players, and full ensemble with the violinist. During the first phase of the concert, the guitarist mentioned he found 17 solo pieces (mostly unnamed) by Reinhardt through extensive research. Wrembel cited, “These are the most unknown, secretive, yet the most essential to his repertoire and very deep.”
“Improvisational #1” recorded in 1937 started the first of three solo compositions played and had plenty of flair, with fanciful and rapid-fire forays. “Improvisational #2” was played without a pick and very classical impressionistic-like (a strong influence on Reinhardt). Lastly, “A Cause of Spain” had touches of flamenco that mysteriously transformed into something different. Wrembel compared it to a “David Lynch movie.”
When joined by the backing guitarist and bassist, Wrembel presented two of Reinhardt’s waltzes. They were “Manoir de Mes Reves” and “Gin Gin,” reportedly written by the icon when he was 12 and had his signature sound even then. Along the same lines were “Indifference” and “Fantasie” that were equally amazing and very fast paced.
Shifting to jazz, which the legend learned from hearing Americans performing in Europe was “Dinah.” It was popularized by Louis Armstrong and on Reinhardt’s first Le Hot Jazz recording in 1934. Unlike previous tunes it was the first to feature the sideman also remarkably soloing away and drew strong crowd reactions. Similarly structured “I’ll See You in My Dreams” came later in the set.
In quick succession, were Reinhardt classics “Nuages” and “Minor Swing” featuring the headliner and players wailing intensely with an array of guitar fireworks. Ballad-like “Tears” slowed things down considerably, while still displaying Wrembel profound prowess and grasp of his hero’s work.
For the final numbers, violinist Homzy, who had been patiently waiting offstage joined the group to replicate the legend’s historical work with Stéphane Grappelli. They started with the high-flying “Gypsy Swing” featuring her soaring away. Departing from Reinhardt’s material, but still retaining his style were serene and tasteful compositions Wrembel composed for a couple of Woody Allen’s films. They “Big Brother” the theme for Vicky Barcelona and the theme for Midnight in Paris. Bringing the two-hour show to an end was “Black Night.” It overflowed with the band leader’s astonishing playing, and was further enhanced by riveting soloing from Homzy, Davy and Kochendofler to receive a glowing standing ovation. For more info go to:
Winter Jazzfest 2022
VIRTUAL MARATHON NIGHT 3
Morena (Official Music Video)
Taj Mahal & Ry Cooder
The Making of GET ON BOARD
Taj Mahal & Ry Cooder
Hooray Hooray (Official Video)
Trumpeter Arturo Sandoval, a 10-time Grammy Award Winner, along with a host of other awards, including an Emmy, performed at Disney Hall. The concert with his 20-piece orchestra was holiday oriented, but the virtuoso, Cuban-born trumpeter put his own unique spin on the affair, while showcasing extra dimensions of his musicality by also playing piano and timbales.
As would be expected, Sandoval injected several Christmas songs into the concert. His solo rendition of “Ava Maria” was superb, additionally he featured Esteban Batallán, the Principal Trumpet of the Chicago Symphony, who is on Sandoval’s upcoming recording. Furthermore, some of his own players such as saxophonists Dan Higgins and Bob Sheppard, trumpeter Wayne Bergeron, and trombonists Andy Martin and Francisco Torres were also featured.
In between numbers the bandleader amusingly rambled about his past and music. Latin jazz eventually came around and led to his experiences working on the film Mambo Kings in 1991. Sandoval’s composition “Mambo Caliente” was nominated for a Grammy in 1992. Coming full-circle the trumpeter rapped during the final moments of the concert. The audience was receptive, resulting in the bandleader and band receiving a standing ovation.
Gordon Goodwin’s 22-year-old Phat Band brought 2021 to a close at Catalina and the pianist/saxophonist/bandleader started out calling the year, “The suckiest ever.” From there things shifted to positivity, beginning with rip-roaring and vintage-sounding “Sing, Sang, Sung,” the big band’s tribute to legends Benny Goodman and Louie Prima that was overwrought with high-flying solos by Sal Lozano-clarinet and Ryan DeWeese-trumpet.
From the group’s newest recording The Gordian Knot, peppy samba tinged “Don’t Blink” was performed featuring tenor saxophonist Brian Scanlon and trumpeter Aaron Jennings. Preceding the tune was a pre-recorded video from percussionist Joey DeLeon, unable to perform due to COVID protocols, who wished everyone well.
Making a significant shift to another classic was George Gershwin’s “Rhapsody in Blue” that Goodwin noted is included in every show the band does. Unquestionably, it was an amazing display of musicality and good taste, that was greeted with a standing ovation from the audience.
During the latter half of the New Year’s Eve concert the material was much more light-hearted, beginning with “Hunting Wabbits” an homage cartoon voice actor and music composer Carl W. Stalling that included complex and swinging interludes. At the crack of midnight, a chorus of party horns emerged along with the band playing “Auld Lang Syne” featuring vocalist and Goodwin’s wife Vangie Gunn. In the tradition of Count Basie, the band did an unscripted “Head Chart” jam that showcased all the members of the Phat Band.
The thrilling and dynamic theme for the popular animated film The Incredibles, which Goodwin composed followed and was greeted warmly by the audience. Gem “A Night in Tunisia” was funked up and featured Gunn’s fiery falsetto singing to keep the party going. Also played were Chaka Khan’s pop/R&B hit “To The Limit” and a big band version of Taylor Swift’s chart-topping “Shake it Off .”
Wrapping things up and setting the New Year off was Goodwin and band’s ground-breaking and rollicking number Swingin’ For The Fences. For more info go to: http://www.bigphatband.com/ and www.catalinajazzclub.com.
Mardi Gras 2022 was nearly two months away when the New Orleans Jazz Orchestra played at the La Mirada Theatre. Nonetheless, the music and vibes generated by the 20-year old ensemble, led by drummer Adonis Rose made it seem like the annual cultural carnival was happening right then and there. NOJO can definitely party like its neighboring and very popular, raucous brass band cousins.
The orchestra, actually consisting of John Michael Bradford-Trumpet, Ricardo Pascal-reeds, Terrance Taplin-trombone, Steven Glen-tuba, Ryan Stanford-piano, Les Wacheski- bass, and Rose is much more refined though—essentially a combination of trad, marching and brass bands. NOJO immediately got the audience shimmying with Sam Morgan’s nearly 100 year old “Bogalusa Strut” that was laden with jovial solos by all. Ellis Marsalis’ “Nostalgic Impression” displayed the group’s artistry in a modern neo-bop context and was equally astounding, garnished with impressive piano, trumpet and soprano sax solos.
Adding more even dimension to NOJO’s concert was popular jazz/gypsy French singer and present New Orleans resident Cyrille Aimée. She’s on the orchestra’s new release Petite Fleur, described as “telling the love story, musical connection, and history between France and the city of New Orleans.” The title track ballad sung in French quickly established that the powerful and senusal singer Aimée was the perfect choice for the recording. Adonis respectfully cited, “The girl can sing!” three times as the audience enthusiastically clapped and cheered afterwards.
Aimée and NOJO were far from being done and continued in a very different vein with Fats Domino’s R&B gem “I Don’t Hurt Anymore.” It featured her roaring away, with trombone, piano and trumpet turning in hot interludes. Switching back to French the singer passionately rendered Michel Legrand, Alan Bergman and Marilyn Bergman’s immortal ballad “What Are You Doing The Rest of Your Life” with minimal band support. Similarly in English she coolly sang “Crazy He Calls Me” and “In The Land of Beginning Again” with scatting and intervals featuring piano, bass and trumpet.
March-like “Si Tu Savais (If You Only Knew)” returned to New Orleans with a touch of Le Hot Jazz and began with a torrid solo piano, before the band, soaring trumpet and singer with an believable scatting close came in to thoroughly excite the audience. As a result of that the bandleader/drummer requested Aimée and the bassist do an impromptu moment together featuring her scatting away impressively and bass coolly soloing.
The singer’s funky New Orleans styled original “Down” was the finale and started with a tuba solo intro, prior to her and band taking flight to blow the audience away. After an enthusiastic standing ovation, the ensemble returned with “Bourbon Street Parade” one of New Orleans’ most popular Mardi Gras songs to somewhat satisfy the audience who didn’t want the show to end. For more info go to: https://lamiradatheatre.com, https://www.thenojo.com/ and https://cyrillemusic.com
Ben Scholz & Bruce Foreman
This Winter LIVE at Venus Cabaret Theater
JOAN CHAMORRO TRIO & ALBA ESTEBAN & TED NASH
Darn That Dream
Emmet Cohen w/ Randy Brecker & Chad LB
We See (Thelonious Monk)
maybe as his skies are wide (Official Video)
How I Fell In Love With Jazz
Cécile McLorin Salvant
Until (Official Video)
Instagram Live Friday
Multi-Grammy Award Winner Marcus Miller and Entertainment Cruise Productions Launch New Original Streaming Concert Series
Saturday Night with Marcus Miller & Friends, with the Iconic George Benson as a Special Guest and Guest Bandmembers Patrice Rushen and Joey DeFrancesco
Concerts available on demand
ON_LINE SALON SERIES FEATURING MUSIC & CONVERSATIONS
107 Suffolk Street
New York, NY, 10002
Van Gelder Studio, the legendary recording studio home to hundreds of jazz icons from John Coltrane to Herbie Hancock, has announced the launch of “Live from Van Gelder Studio,” a new virtual music series that will stream live from VanGelder.live.
Live from Van Gelder Studio is expected to continue through 2021 with a 10-show immersive and interactive program. The series will feature talent from original seminal recordings joined by multi-generational artists who will pay tribute to important records that were originally put to tape within the four walls of the studio. Tickets can be purchased directly on the site for $15. 2021 shows will be announced in the near future. Performances will be live streamed using a new technology built from the ground up that is true to the Rudy Van Gelder sound. It will allow audiences to fully experience the unique studio and its sound in their homes. Upcoming experiences will be crafted to make the audience and musicians feel like they are at an actual live performance.
Live from Van Gelder Studio is created and produced by a team of jazz industry veterans including: • Five-time Grammy Award-winner
Don Sickler, who produced many Van Gelder-recorded artists including Joe Henderson, Freddie Hubbard and Cindy Blackman Santana.
Phil Coady, producer of The Ultimate Blue Train, which was created while he was the lead producer in the Microsoft MS4Music Group and where he and Van Gelder first connected.
Sam Kaufman, who as a talent agent worked with Van Gelder-recorded artists including Ray Charles, Pharoah Sanders and Jason Moran. • Maureen Sickler, distinguished associate and long-time assistant engineer for Van Gelder, who now carries on the traditions forged in their 30+ year collaboration.
Live from Van Gelder Studio
Back on FB Live: Adam will be back at the same time, same place this Mondays at 7pm PST/10pm EST. He’ll be back with your requests, do another show-and-tell on his studio and recording process, and we’ll definitely see an encore performance from his wife and vocalist extraordinaire Kat Hawley.
Just go to his Facebook page!
During the entire quarantine period, Qwest TV also broadcasts a flagship program from its catalog every day at 9pm (CET) / 3pm (EST), available from the platform’s Facebook and YouTube accounts. Among the Qwest TV gems, Internet users will discover next week:For more information on Qwest TV, visit qwest.tv.
Provides five free services:1. A searchable archive of thousands of carefully hand picked and annotated jazz videos2. A free Video-of-the-Day service. Love jazz? We deliver a great jazz video to your mailbox every day. You can subscribe here free.3. The Internet’s only free up-to-date world-wide directory of jazz clubs, jazz festivals, jazz radio stations, and jazz organizations.4. A podcast series, unique in jazz, that features in-depth interviews on the history – and future – of jazz with jazz scholars, educators, and presenters.5. One of the most detailed educational resources available anywhere on the music of Cuba and other Latin countries and their under reported, and often under appreciated, impact on jazz past, present and future.www.jazzonthetube.com
Symphonic Jazz Orchestra
What is Jazz Concert Presentation
New England Conservatory’s Jazz Studies and Contemporary Improvisation Departments feature an array of livestream and virtual concerts
Hello 2022! We have TWO online workshops with Michele Weir coming up very soon sponsored by The California Jazz Conservatory: The Piano is Your Best Friend and How to Win at Scatting (back by popular demand.) MORE INFO BELOW
• Workshop I: The Piano is Your Best Friend!
Dates: Saturday Feb. 19 and 26 from 12:00 – 2:00 PT
Why is ‘the piano your best friend…?’
• It will help you understand terms and concepts that were previously confusing.
• It will allow you to be more self sufficient in practice, prep and chart writing.
• Playing jazz piano will support you in becoming a fully functioning musician + the confidence that goes with it!
Jazz Education Network1440 W Taylor St #1135Chicago, IL 60607United States
The Jazz Bakery family would like to wish you a healthy and happy New Year. They’d also love for you to remember them with your end of the year gift so they can continue to present our uniquely American music that has always celebrated freedom and diversity. Your donation is so important as the family works to make the world a better place by sharing and supporting the music we love.
Its operations were shut down in 2020 due to the pandemic, only to resume with online streaming concerts in 2021. Streaming concerts started in 2020 with Sam Hirsh live from his home. In 2021 a streaming concert series was launched early on with Benn Clatworthy and his band System 6 performing from the beautiful new venue the Union Silverlake here in Los Angeles.
Next they presented a moving tribute to Chick Corea from the incredible Hubert Laws, live from his studio. Joining him for this very special streaming concert is Rob Mullins on piano and John Leftwich on bass. The streaming series ended with a bang by presenting an absolutely fantastic performance from the brilliant guitarist Larry Koonse and bassist Darek Oles
in June.The Jazz Bakery has big plans for 2022! They intend on going back to live performances and are working on an exciting partnership with a beloved and respected Los Angeles institution. You will have to watch our newsletters for more updates on this endeavor! The Jazz Bakery is forever grateful to YOU, its loyal and generous supporters and advocates. They thank you for your loyalty and support, and don’t forget, your check saves them service fees! Donate here- https://www.jazzbakery.org/support-us?mc_cid=fb17b42c58&mc_eid=bc1d731273
Guitar legend Kenny Burrell took a fall two years ago. He is still recovering and on sabbatical from UCLA. Essentially, he is still unable to play and/or teach. Help is needed and welcomed. Here’s the link for donations setup by his wife Katherine: https://www.gofundme.com/support-kenny-burrell?utm_medium=email&utm_source=product&utm_campaign=p_email%2B2300-co-team-welcome
WYNTON MARSALIS, BILL FRISELL, JIMMY OWENS AND ANTOINE DRYE JOIN JIM WATT’S MULTIMEDIA PROJECT, 1000 WATTS – ART, JAZZ & FILMMAKING TO BENEFIT JAZZ MUSICIANS HARD HIT DURING PANDEMIC
1000 Watts aims to raise $100K through sale of 1000 artworks created as musicians improvise, captured on film by legendary photographer/filmmaker Danny Clinch – funds to be distributed to jazz artists in need.
1000W is a multi-dimensional project that centers on 1000 ink washes, painted with Japanese Sumi ink and water on paper. They will be released in five series of 200. The first two hundred are available now. Each series will include a few curated groups. 1-200 features a group of four, two groups of twelve, and a group of thirty. A short digital film capturing the painting of each group will be included with the purchase. The films will be scored by jazz trumpeter Antoine Drye. Drye is a creative partner on the project, as the ink washes are created in conversation with improvisational jazz. The interaction between the painter and an assemblage of featured musicians, curated by and including Drye, will be featured in live performances of 1000W.
Footage of an overhead camera capturing the works as they are created will be projected for the artists and the audience to see. Each artist’s work informs the other. The music and the art are created in real-time, in the same moment. A film, produced and directed by Danny Clinch, will chronicle the entirety of the project. Clinch will draw from the overhead footage, live performances, and studio visits. In addition to the film, an album featuring the music produced in these sessions will be released at the conclusion of 1000W. 1000W seeks to raise $100,000 for the jazz community, which has been especially hard hit during the Covid pandemic with the prolonged closure of most live performance venues. $100 from the purchase of each painting will go directly to musicians in the jazz community.
Bruce Forman, John Clayton, and Jeff Hamilton record their mentor’s original instruments!
Reunion: Revisiting The Poll Winners!
DENISE PERRIER (The Voice With a Heart)
After a 60-plus yeer career that took her around the country and the world, Denise is producing a “legacy” album. It will include songs that have been especially important in her life. Denise hopes to have the CD finished this summer. We will keep you in the loop and please accept our sincerest thanks for helping.
To finance the project, several of her friends and colleages have set up a GoFundMe account with a $10,000 goal. If you would like to contribute, please go to https://gofund.me/3475e6fa.
To send a check, please contact Catherine: firstname.lastname@example.org.. For more info: www.deniseperrier.com
Under director of music programs Mitch Glickman, Jazz at LACMA and Beyond Symphonic Jazz are celebrations of L.A.’s finest jazz musicians and has featured such legends as Wayne Shorter, John Clayton, Johnny Mandel, Kenny Burrell, Les McCann, Billy Childs, Arturo Sandoval, and Ernie Watts. Jazz at LACMA concerts are broadcast on KJazz 88.1 FM every Sunday evening from 7-9 pm that includes an interview with the featured performer and Beyond Symphonic Jazz every Monday 9- 11 pm. The archives are available for two weeks following the broadcast.
February Special Guest for Jazz at LACMA
Feb 13 ELEW
Feb 20 Billy Childs
Feb 27 Rumproller Organ Trio and Special Guests
February Special Guests for Beyond Symphonic Jazz
Feb 07 Alex Acuña
Feb 14 James Morrison
Feb 21 Byron Olson
Feb 28 David Amram
For more info go to: kkjz.org
Any information to be considered for this column can be sent to: