By Chris J. Walker
Street Corner Renaissance, a doo wop quintet featuring vocalists Maurice Kitchen, Charles “Sonny” Banks, Anthony “Tony” Snead, Torre Brannon Reese and Kwame Alexander are practitioners of the genre’s purest form—a cappela. At Catalina for a special Christmas show the group celebrated their love of doo-wop through songs dating back to its origins in the 1940’s to be eventually overtaken by R&B and rock and roll in the 1960’s. Most of the singers, except for Banks born in 1939, weren’t around during that era when the music was in its prime and heard everywhere, but nonetheless are quite knowledgeable.
They were highly spirited in performance, beginning with a rousing intro medley built around the Flintstones TV show theme. From there SCR unleashed a cavalcade of doo-wop hits that were drenched with innocent soulfulness such as “Life Could Be a Dream,” “This Magic Moment,” “Don’t Look Back” and “I Love You So.” All the while, the singers joked with each other and the audience as they reminisced about vintage TV shows, hanging out on corners and of course, making out at drive-in movies.
In that regard they sang “Little Darlin’,” “Frankie And Johnny” and “Never Let Me Go.”
Additionally, the singers individually spotlighted their talents within the group. Banks shined for “I Only Have Eyes For You” and recalled carrying a love interest’s books home to win her affections. Kitchen soared on “Oh What a Night” and Snead put a doo-wop spin on the O’Jays “Love Train.”
Alexander injected more energy through Jackie Wilson’s “Higher And Higher,” while Reese showed off his baritone skills and nearly the show during “Blue Moon” originally written by Rodgers and Hart in 1939.
Overall the doo-wop show was a fun celebration that included excursions into jazz with “Route 66” and Christmas music through a medley. It extensively included “Let it Snow,” “Frosty The Snowman,” “Jingle Bell Rock,” “White Christmas,” Charles Brown’s bluesy “Please Come Home For Christmas” and Donny Hathaway’s soulful “This Christmas” to receive a robust standing ovation. For more info go to: streetcornerrenaissance.com and http://www.catalinajazzclub.com/.
Gospel singer CeCe Winans, a colossal 12 Grammy, 23 Dove, 15 Stellar Award-Winner and best-selling gospel artist of all time, made a triumphant return to Disney Hall with her band and 12-person The Kingdom Choir. It unquestionably was a joyous occasion for the concert attendees, which included some who had been following her since the ‘80s when she performed with her older brother Bebe.
She began the concert with a traditional version of “Hark The Herald Angels Sing” and eventually transformed it into rocking gospel. Although it was a Friday night, she in effect was holding Sunday church services and continued with Something’s Happening! the title track of her 2018 contemporary gospel Christmas album. Winans expressed gratitude for being able to perform in Los Angeles again and said they all celebrate Christmas all year long.
Syrupy-string laden ballad “This World Will Never be The Same” prominently featured passionate singing from the star with the backing choir down low. Contrarily, “Never Lost” was loaded with the full vocal power of Winans and her choir to thoroughly invigorate the audience. The singer maintained preaching in-between songs and stressed praising God, “Even when you don’t feel like it or understand what’s going on.” That led to the very heartfelt and passionately sung “King of Glory” and “Believe For It,” with the choir and band easing in after Winans did emotional introductions, resulting in a torrent of applause upon finishing.
During the final moments of the sermon-like performance the gospel artist returned to Christmas themed songs through regal “O Holy Night,” with serenading “Silent Night” and contemporary rocking “I Heard The Bells on Christmas Day” as full-blown choral numbers. In reaction to the concluding songs the audience rejoiced and attempted unsuccessfully to persuade Winans to do an encore. Her choir opened with a dynamic 20-minute a cappella set also filled with joyous Christmas songs to charm and warm up the crowd. For more info go to: http://cecewinans.com/ and https://www.laphil.com/.
25-time Grammy Winning superstar Stevie Wonder revived his nearly 20-year old House Full of Toys benefit concert at the Microsoft Theater. Its previous occurrence was in 2018 and understandably, both him and the audience were excited to be together again. Wonder did a lengthy (10-minute) invocation of sorts to cite his thankfulness, belief the impossible is possible and detailed how he became a professional singer. That, of course, riled up the audience, which included many who brought toys for Wonder’s We Are You Foundation. The non-profit provides assistance for children, people with disabilities, and families in need.
When the icon eventually started it was pure magic. Making the occasion even more special were his young daughters Nia, 7, and Zaiah, 8 joining in for vintage Motown sounding “What Christmas Means to Me” that was boosted with Wonder’s astounding chromatic harmonica solo. Going in a vastly different direction was the bandleader’s high revving and jazzy piano driven “As if You Read My Mind.”
Reggae flavored “Master Blaster (Jammin’)” set a dance party into orbit and made it nearly impossible to remain seated. From there, the musical genius’ most vibrant and irresistible hits overflowed. Among them were “Higher Ground,” “Don’t You Worry ‘bout a Thing” with the audience helping out and a percussion jam. Also “Boogie On Reggae Woman” was augmented with Wonder’s hot blues harp and electronic bass solos.
“Signed, Sealed, Delivered I’m Yours” was another Motown classic, and jazzy “Sir Duke” with “I Wish” featured Wonder’s brass players. “Superstition” both an R&B and rock hit, began with him vamping “COVID don’t mess with me.” It then proceeded with the band grooving hard, his sax player doing call and response with him and also soloing intensely. An abbreviated version of “Another Star” ended the epic and fun-packed concert.
For balance and needed respites Wonder’s ballads and mid-tempo songs were included as well. The audience sang along to “My Cherie Amour” and the vocalist injected a very emotionally plea for non-violence. That coincided with Jacqueline Avant, the late wife of Rock & Roll Hall of Fame member Clarence Avant, who died violently and senselessly (home invasion) December 1st.
“Overjoyed” was superb, while classical gem “Ave Maria” was vocally challenging and redeemed by stellar harmonica playing. Additionally, several audience members came on stage to help out on “Someday at Christmas” and personalities from Wonder’s radio station KJLH gave shout-outs. https://weare.org/Prior to Wonder lighting things up Ledisi very soulfully sang “Have Yourself a Merry Little Christmas” and her first Grammy-winning hit neo-soul ballad “Anything For You” backed by her own musicians and backup singers. Also in the later third of the benefit concert R&B star Johnny Gill was a surprise guest and wowed the audience with his sensual R&B 1990 hit “My, My, My.” For more info go to:
The Bob James Trio
Elton John’s Rocket Man
Khruangbin & Leon Bridges
B-Side (Official Video)
Breaking Each Other’s Hearts
Rachel Eckroth’s career as a singer/keyboardist/bandleader for the last 20 years has been quite adventurous and taken her in different directions that crisscrosses many musical boundaries. Among them are working with eclectic rock/pop singer/guitarist St. Vincent, folk/pop singer/songwriters Rufus Wainwright and KT Tunstall, jazz/pop/classical trumpeter Chris Botti and experimental jazz/fusion saxophonist Donny McCaslin.
As a bandleader she has recorded eight albums and the latest The Garden has been nominated for a Grammy for Best Contemporary Instrumental Album. At Sam First with Tim Lefebvre-bass/husband, Christian Euman-drums and Bob Reynolds-saxophonist, she had a CD release party. Eckroth used the project to get herself back into a jazz orientation after playing in other genres for the last five years. She chose the album title because, like a garden, her music is a diverse ecosystem sprouted from her many musical involvements. For sticklers the singer/keyboard/bandleader admitted that her project was actually released in September 2021.
From there the quartet quickly dived into the tracks and began with the darkly mystical, yet jazzy sounding “Under a Fig Tree.” It was highlighted by Reynolds’ snake charming soprano saxophone playing,and the leader’s very adept soloing. Lefebvre did a solo intro for “Dracaena” a slower tempo and comparatively conventional sounding tune that retained the same theme. It was full of scintillating ensemble interaction and stellar soloing from Eckroth, the saxophonist and Euman.
Eckroth’s title track was an up-tempo jaunt that overflowed with nearly jam-like solos from the principal players, along with an ethereal keyboard interlude for the close. “Low Hanging Fruit,” which the bandleader described as their “hard piece” was very upbeat and hard driving, strongly propelled by the drummer’s sweltering pulsations and fiery cymbal accents.
“Ether” not on the new album added some diversity to the set. It began with offsetting rhythms and featured Lefebvre soloing extensively, while Eckroth tastefully injected a mix of jazz, classical and bossa textures for Reynolds to solo over. Returning back to The Garden and concluding the set was lightly textured and the most rhythmic selection “Dried Up Roots.” Notably, it featuring Eckroth’s tranquil vocals and atmospheric synthesizer playing, which with the other numbers and remarkable band playing resulted in a standing ovation. For more info go to: www.racheleckroth.com and www.samfirstbar.com.
Influenced by the acoustic guitar playing of icons Ralph Towner and Pat Metheny, and also having some similarities to Julian Lage and Chris Eldridge’s work together. Brooklyn-based guitarists Cameron Mizell and Charlie Rauh came together remotely to record their second CD Local Folklore. Its inspired by memories kept alive through sharing memories, experiences and amazement in the musicians’ communities. Mizell and Rauh recently performed and showcased their album at The Yard Theatre as part of its Monday Night Series.
The guitarists’ title track was the opening song and exhibited dazzling fretwork and strong unity. In conjunction with Rauh’s sister Christina Rauh Fishburne’s novel in progress was slow tempo “Jed’s Theme” written for one of the book’s characters. Shifting to a more lively cadence was bluesy “Old Sardis Road” composed by Mizell. Alternately, Rauh’s “A Single Cloth” derived from Rainer Maria Rilke’s Book of Hours was created as a solemn celebration of a close friend’s wedding.
“Greenwood Waltz” was somewhat similarly formatted and dedicated to some of Mizell’s guitar students who live on the same block. “Arolen” was the street Rauh lived on in Northern Alabama and the ballad-like song was developed from the first melody he learned. “Rita’s Theme” written by Mizell for another one of Rauh Fishburne’s character marked the end of the show and was an impressive display of guitar interaction. Opening the show was guitarist Cameron Knowler and another guitarist who played folk, blues and jazzy songs. For more info go to: cameronmizell.com, charlierauh.com and https://theyardtheater.com
Christiane Karam Quintet
BEIRUT (Official Music Video)
John McLaughlin & Free Spirits
Little Miss Valley
Surprisingly, Flamenco! Fiesta de la Buleria Jerez was the first performance of the Spanish/gypsy art form at Disney Hall during the venue’s near 20-year existence. And amazingly, under the artistic direction of flamenco artist and dancer María Bermúdez, the 15-person troupe of incredible singers, musicians and of course, dancers grandly made up for the notable non-inclusion. They presented an extensive two-and-a-half hour-long, 12 movement unforgettable program, ranging from nine artists together to solo guitar. In essence, the special concert was true-to-life representation of Spain’s most important flamenco festival.
Additionally, all the artists: dancers Bermúdez and Joaquín Grilo; singers Jesús Méndez, Remedios Amaya, Pelé De los Reyes (Navajita Plateá) and Antonio Malena; master guitarists, Diego Del Morao, Antonio Rey, and Manuel Parrilla; and violinist Bernardo Parrilla were from Jerez de la Frontera, Andalusia the birthplace of flamenco. They enchanted the audience with thrilling dancing, passionate singing (all in Spanish) and masterful playing that encouraged many of the audience members to call out to them and energetically clap along.
The singers both male and female, nearly shouting gypsy-like verses were triumphant, bold and full of zest and sometimes a cappela. While, the instrumentalists were artistically dazzling with superb expertise, which kept the audience on the edge of their seats. Dance, flamenco tap, the heartbeat of the idiom was explosive and very emotional, yet also inviting. So much so that all the participants, excluding the violinist each contributed brief dance interludes that won the hearts of the audience and impressed them even more, prompting calls for several encores. For more info go to: www.laphil.com.
Kala Koa Entertainment celebrates 15 years of bringing the biggest and brightest names in Hawaiian music to the mainland with the 2022 Southern California Slack Key Festival returning to the Redondo Beach Performing Arts Center on January 16, 2022. One of the most acclaimed Hawaiian concerts to ever leave the islands, the Southern California Slack Key Festival takes fans on a Hawaiian musical journey showcasing GRAMMY-winning slack key guitarists, the best hula dancers in the world, special guest performers and a free to the public Island Marketplace. Since 2008, the Southern California Slack Key Festival has been the biggest Hawaiian music concert event in the mainland U.S., and features the most respected names in Hawaiian guitar music and hula today. Taking its name from a finger-picking style of guitar playing indigenous to Hawaii (as heard on the Grammy-nominated soundtrack for The Descendants, the Slack Key Festival brings the art of ki ho’alu guitar to Redondo Beach. This year’s Southern California Slack Key Festival’s line-up includes George Kuo– one of the last ‘elders’ from the Hawaiian music community along with his rare double neck guitar, Jim “Kimo” West, Makana, Jeff Peterson, Kenneth Makuakane, Patrick Landeza & Sons, Ian O’Sullivan, Pomaika’i & Malie Lyman, Alan Akaka, and Patrick “Kaipo” Asing. What is Hawaiian Slack Key Guitar Music? Played from the heart and soul through the fingers and flowing with vivid tropical images, Hawaiian ki ho’alu (slack key) is truly one of the great acoustic guitar traditions of the world. In slack key, some of the strings are “slacked” from the standard guitar tuning, with the thumb playing the bass notes while the other fingers play the melody and improvise in a fingerpicked style. How does the distinctive sound of slack key music fit into the fabric of Hawaiian music and culture? Watch this video and learn more about this beautiful generations-old art form – https://vimeo.com/155399448. In addition to the concert, an Island Marketplace – free to the public – takes place from 11:00 a.m. to 5:00 p.m., Browse a variety of island themed gifts, home décor, accessories, apparel, and more. Plus, Hawaiian food, authentic island-style shave ice and outdoor entertainment.The 15th annual Southern California Slack Key Festival – January 16
Free Island Marketplace
11:00 a.m.–5:00 p.m.Redondo Beach Performing Arts Center
1935 Manhattan Beach Blvd
Redondo Beach, CA 90278
I Pity The Fool
Trombonist, Kalia Vandever, 26, originally from LA, first met Just Jazz host Leroy Downs when she was 14. Since then she has grown tremendously, getting a BA in Jazz Studies at Julliard, working with Herbie Hancock, Wynton Marsalis, Ingrid Jensen, Jason Moran and others in New York, California and Europe, along with forming a quartet. Vandever led her group, consisting of Paul Cornish-piano, Max Gerald-bass and Connor Parks-drums during a performance for Just Jazz’s concert series.
After a quick interview with Downs, Vandever’s group got down to business, highlighting new soon to be recorded, intellectual compositions. The first piece, “Soft” was mid-tempo neo-bop, expansive and classical tinged, featuring the bandleader playing with somber brilliance, while also featuring Cornish coolly soloing. “False Memories” followed, and was airy, somber and grandly exhibited the trombonist prowess, with the other band members fluidly supporting and adding tasteful contributions, including an adventurous excursion from the pianist.
Playing solely initially, the bandleader unveiled haunting and slow-drawn number “Unwelcomed Visit” that was a delight for the audience. Changing things up a bit was the upbeat title track of Vandever’s debut album In Bloom. It featured her wailing away over her quartet’s engaging and propulsive backdrop. Also from the recording was mystical “Lost in The Oaks,” and percolating and resounding show closer “Renee,” which drew a standing ovation and was written for trombonist’s older sister, who was in attendance. For more information go to: www.kaliavandever.com and https://justjazz.tv
During 2020 the Los Angeles Jazz Society was unable to hold their annual JAZZ TRIBUTE CONCERT & AWARDS. Fortunately, in 2021 as a sign that things are slowly returning to normal, the longstanding jazz organization that honors exemplary jazz professionals, in addition to supporting jazz education and mentorship, returned for a live-in-person ceremony at The Ricardo Montalbán Theatre. Lois Saffian, President of the organization gave the opening remarks, thanking the Board of Trustees, the sponsors and everyone for attending, including Flip Manne who just celebrated her 100th birthday.
The Music Director was John Clayton, who played bass, while smoothly leading the 15-person Los Angeles Jazz Society All Star Big Band. Handling emcee duties was Leroy Downs, with Saffian also making announcements and acknowledgements. A special video highlighting the LAJS’s history, efforts and special educational programs, such as the Bill Green Mentorship Program, Music in Schools and the Jeff Clayton Memorial New Note Commission got things underway.
Awards presentations and performances followed, beginning with the Shelly Manne Memorial New Talent Award, established by his widow Flip in 1985. Trombonist Evan Dexter was the recipient and his mentor trombonist Scott Whitfield did the introduction, saying, “He was 14 going on 40.” Dexter accepted and performed via a prerecorded video due to being involved in a concert at his high school that night. With Joshua Wong-piano, Cody Nakatsukasa-bass and JJ Lybbert-drums he displayed impressive proficiency performing Jobim’s bossa classic “Desafinado.”
The rest of the program was live beginning with the Jazz Educator Award, bestowed to Mitch Glickman, with Saffian doing the honors. Prior to the educator coming on stage to accept his award a video spotlighting his work with Music in Schools, LACMA and the Symphonic Jazz Orchestra was shown.
The Jazz Vocalist Award honoring Carmen Bradford was introduced by her protégé, Sara Gazarek. Gazarek mentioned that Bradford strongly influenced her at USC. The veteran singer and educator told Gazarek not to wear flip-flops onstage, while also giving her $100 dollars as a birthday gift to buy a good pair of pumps. Later when she became a professional singer Bradford gave her a piece of jewelry previously owned by Ella Fitzgerald.
The honored singer received a rousing standing ovation and was very emotional, thanking Warren Dixon, an Austin, TX club owner who gave the singer her first job. Additionally, she said Count Basie and Clayton recognized her abilities and pushed beyond her comfort zone.
With the All Star Big Band and her backing trio consisting of Karen Hammack-piano, Alex Frank-bass and Ryan Shaw-drums and also one Erskine’s students, Bradford stirringly sang full-bodied ballad “Young And Foolish” to blow the audience away. With only Clayton backing she touchingly sang Louis Armstrong’s immortal “What a Wonderful World.” Shifting up-tempo, she swung hard and amazingly scatted with her trio for “You Can Depend on Me,” and with the big band flew high doing “I Love Being Here With You.”
The singer injected a quick story mid-set about recording with bassist Ray Brown and drummer Ed Thigpen for pianist Shelly Berg’s album The Will: A Tribute to Oscar Peterson in 1997. Brown, previously Fitzgerald’s husband and band member got incensed when Bradford attempted to sing “I Hear Music” similarly to the legend. He insisted she alter her approach, which she in shock did. Two weeks later in Germany she performed with the Super Bass Trio comprised of Clayton, Christian McBride and Brown for a TV special. For the finale Clayton asked the singer to scat with them, but with Brown putting her on notice she timidly sang:
The Jazz Tribute Honoree was drummer Peter Erskine with actor/writer/director Adam Arkin introducing him. Arkin called Erskine one of the greatest drummers and musicians in the world, and has been a fan of his for over 50 years. Erskine recalled first coming to LA from New York with Weather Report in 1978 for a few years and returned in 1987 to start a family with his wife in Santa Monica.
Erskine remembered composer/arranger/friend and fellow educator Vince Mendoza calling USC drumming students to help unload the moving truck in exchange for one-hour lessons for each of them. The drummer had other anecdotes, but the most significant was being around Shelly Manne, who was holding court during a flight for the Jazz of The ‘80s Tour. During a private moment he went through some of Erskine’s articles that eventually became a drum book. The icon commented, “Lots of good stuff, man. Interesting all the emphasis on two and four. But don’t forget you can’t have a two and four, without a one and a three.”
Erskine performed with his longstanding trio that included bassist Darek Oles and pianist Alan Pasqua. They featured a three-tune medley, beginning with Pasqua’s neo-bop tribute “Dear Chick.” It exhibited dazzling piano, sumptuos bass and sizzling drumming. The drummer’s “Three Quarter Molly” was somber, spacious and lightly textured. Closing tune “The Honey Moon” written by Oles was an energetic romp that exhibited the trio’s cohesion and intelligence.
The Composer/Arranger Award Winner was Vince Mendoza, with Clayton presiding. He respectfully acknowledged Mendoza’s numerous achievements, including six Grammys, 34 nominations, an ability to work in many settings and being diverse and uncategorical. The composer/arranger was soft-spoken and humbly thanked everyone he has worked with, including Clayton, fellow USC faculty members, and especially his wife.
Mendoza as the Music Director also worked with the Los Angeles Jazz Society Big Band, which included Peter Erskine on drums and Clayton on bass. His first composition played was lightly mariachi tinged and march-like “This Morning Hour,” dedicated to his father who was from Mexico. It was followed by the concert closer “Oscar And Felix,” a sophisticated and driving homage to Neal Hefti, with his son Paul in the audience. For more info go to: https://lajazz.org/
Two-time Grammy Winning singer Kurt Elling performed at the Segerstrom Center for the Arts’ Samueli Theater for a Christmas themed concert. A very dynamic, almost rocking version of “We Three Kings” started things off with Elling, John McLean-guitar, Stu Mindeman-piano, Clark Sommers-bass, and Dana Hall-drums all blazing away. This definitely was not a Hallmark Christmas show and mostly comprised of songs from Elling’s 2016 The Beautiful Day: Kurt Elling Sings Christmasrecording.
The headliner said, “We are not really three kings (onstage). It’s more like four kings and a jester.” The crowd chuckled before Elling noted everyone in the audience are “Christmas Children” and went into the hip song featuring a whirlwind solo from Mindeman. Lyrics from “Some Children See Him” provided an insightful perspective on how children of color perceive Santa Claus. Elling’s singing and his guitarist’s solo intensely wailed away to draw strong audience reactions.
Briefly departing from Xmas songs was the title track for the singer’s latest project SuperBlue, an uplifting funk-driven tune highlighted by his band grooving away and Hall’s drumming taking it to another level. Getting back to the seasonal theme, Elling humorously read “The Night Before Christmas” Lord Buckley style: https://www.youtube.com/watch?v=xOLrZar3XRE. With piano coolly embellishing, it was way too hip for the room. Keeping with the vibe going was New Orleans fashioned “Little Drummer Boy” with Hall and bassist Sommers working out to Elling’s phenomenal singing and scatting. The only thing missing was a conga line around the perimeter of the concert hall.
The concert could have easily ended on that juncture, and continued with the singer getting philosophical about life before poetically and emotionally rendering Dan Fogelberg’s contemporary sounding and modern themed “Same Old Lang Syne.” It was very far removed from being a traditional Christmas song and drew strong applause. Donny Hathaway’s “This Christmas,” fast becoming part of the traditional Holidays repertoire, was prominently featured to get the audience partying. The show ending song, “Have Yourself a Merry Little Christmas” returned things to normal, featuring Elling’s soaring scatting with personal touches to draw an enthusiastic and long standing ovation. For more info go to: https://kurtelling.com/ and www.scfta.org.
Round Miles Documentary
Wayne Shorter on “First Look” with Don Was of Blue Note Records
Tiny Desk (Home) Concert
Christian McBride feat. David Sanborn
Tia Fuller, Kris Davis, and Terri Lyne Carrington
Instagram Live Friday
Multi-Grammy Award Winner Marcus Miller and Entertainment Cruise Productions Launch New Original Streaming Concert Serieswww.SaturdayNightWithMarcusMiller.comSaturday 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
107 Suffolk Street #300,
New York, NY, 10002https://www.artsforart.org212-254-5420
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.www.vangelder.liveLive 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:www.jazzonthetube.com1. A searchable archive of thousands of carefully hand picked and annotated jazz videos 2. 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.
What is Jazz Concert Presentation
New England Conservatory’s Jazz Studies and Contemporary Improvisation Departments feature an array of livestream and virtual concerts https://necmusic.edu/concerts
Jazz Education Network1440 W Taylor St #1135 Chicago, IL 60607 United 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?
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: email@example.com..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. January Special Guests for JAZZ AT LACMA
Jan 02 säjeJan 09 Ernie Watts Quartet Jan 16 Yellowjackets Jan 23 Angel City Jazz Festival-The Pan Afrikan Peoples Arkestra Jan 30 Nolan Shaheed
January Special Guests for Beyond Symphonic Jazz
Jan 03 Lara Downes
Jan 10 Billy Cobham
Jan17 (Jethro Tull) Ian Anderson
Jan 24 Larry Klein
Jan 31 Ron Carter
For more info go to: kkjz.org
Any information to be considered for this column can be sent to: