By Chris J. Walker
When appearing at the Hollywood Bowl, Brittany Howard was a force of nature, rivaling torrential rain, wind and lightning through her scorching guitar playing and soul-drenched singing. Howard, a multi-Grammy-winner, first with Alabama Shakes and secondly as a solo performer, opened with her fiery ensemble that notably included drummer Nate Smith and two backup singers. They all rocked out doing the Funkadelic’s psychedelic funk jam “Hit It And Quit It.” The bandleader and the backing guitarist traded off solos, while the other musicians supplied additional firepower.
After playing that hot song Howard went in a more R&B/soulful direction with slow grooving, eruptive and highly emotional sung ballads “He Loves Me” and “Georgia” (a person). It became apparent that everything the singer/guitarist does is along the same lines, with Grammy-winning “Stay High (With You)” and “Presence” continuing the lush rhapsody. Howard, loving every second of the show admitted that outside of performing, “I don’t do nothing else interesting and this my day out.”
Jackie Wilson’s soul staple “(Your Love Keeps Lifting Me) Higher and Higher” further elevated the audience with passionate singing and driving rhythms, and could have easily ended the concert, judging by the enthusiastic audience response. Howard stated, “I got to calm down” and shifted into plush silky neo soul songs such as “Baby,” racially self-identifying “Goat Head” and exotic “Tomorrow.”
Another Funkadelic cover “You And Your Folks, Me And My Folks” returned to rocking R&B with Howard and band jamming and dancing. “13th Century Metal” was more of a rock/spoken word meshing featuring the headliner doing an intense and lengthy proclamation for freedom, love and unity to a hard-driving rock backdrop to close the show. It drew strong and positive crowd reactions with a canvas of lit cell phones.
For the encore Howard angelically sang and played acoustic guitar solely for “Short And Sweet” dedicated to her older sister Jaime who died as a teenager. With full band the singer/guitarist reveled with “For Once in My Life” popularized by Stevie Wonder, Sly & Family Stone-like “History Repeats” and a soulful/bluesy Nina Simone version of the Beatles’ “Revolution.”
Prior to Howard, singer Jamila Woods did a set leaning more to poetic neo soul that was highlighted by tributes to artist Jean-Michel Basquiat and poet/writer/activist Nikki Giovanni, along with interpretations of Nirvana’s “Smells Like Teen Spirit” and Tracy Chapman’s “Fast Car.” In sharp contrast was Georgia Anne Muldrow, who was more like performance art. She donned a sci-fi fairy princess-like gown while singing with effects to a backdrop spanning avant-garde, funk and jazz for a quick 25-minute set. Overall, the combination of artists was probably one of the more provocative KCRW World Festivals.
Singer and guitarist Madeleine Peyroux is definitely not a pop artist, although she has had some respectable selling songs and albums. Moreover, she has a comfortable and soothing style that flows with classic jazz, blues, folk and French chanteuse, similar to lounging on comfortable couch or wearing your favorite sweater. At the Saban Theatre, Peyroux and her fans bonded, and were excited to be together again.
After the initial fanfare, the show got underway with standard “I Hear Music” as Peyroux sang sweetly, while band—Aram Bajakian-guitar, Graham Hawthorne-drums, Andy Ezrin-keyboards and Paul Frazier-bass coolly swung and soloed. The singer’s staples “Don’t Wait Too Long,” “You’re Gonna Make Me Lonesome When You Go” and “Dance Me to the End of Love” by Leonard Cohen displayed her cool style and wry wit, all to the audience’s delight.
She switched gears to slow-drawn vintage blues through Bessie Smith’s “Don’t Cry Baby,” singing emotively and featured a bowing bass solo. Somewhat related was Tom Waits’ organ-based “(Looking For) The Heart of Saturday Night,” Elliot Smith’s “Between The Bars” and Gene Austin’s bluesy/honky-tonking “The Lonesome Road.”
Besides Billie Holliday, Peyroux has often been compared to France’s immortal Edith Piaf, and included several “foreign language songs” as the singer called them. They were Josephine Baker’s sultry J’ai Deux Amours” in French, and Antônio Carlos Jobim/Vinicius de Moraes’ bossa classic, “Agua de Beber” in Portuguese. Closing out the fast hour-long set was steamy ballad “I’ll Look Around,” and encore Holliday-sounding “Careless Love” her best-known song that recently celebrated it 25th anniversary, which set the audience in orbit.
Angelic/spiritual sounding Paula Cole followed Peyroux and began singing with her band that included Ross Gallagher-bass, Chris Bruce-guitar drummer Jay Bellerose. She did a Bessie Smith burner, “Black Mountain Blues” to light up the crowd and included impressive whistling. Afterwards, she went into a more pop/rock/folk direction with songs “Bethlehem,” “Carmen,” “Where Have All The Cowboys Gone?” with the audience clapping along and bluesy “Feelin’ Love.” For more info go to: https://madeleinepeyroux.com/, https://paulacole.com/ and http://sabantheatre.com/
NPR Tiny Desk (Home) Concert
Newen Afrobeat & Seun Kuti
Zombie (Fela Kuti)
El Imperio (Official Music Video)
Tedeschi Trucks Band (with Chris Robinson)
Show Me (Rehearsal)
Lonesome Official Music Video
The vocal super group and recent Grammy Nominees, säje (rhymes with “beige”) are only a year and a half old. They’re the brainchild of vocalist/composers Sara Gazarek, Amanda Taylor, Johnaye Kendrick, and Erin Bentlage. They recently performed for Jazz at LACMA with a backing combo that included Nicole McCabe-alto saxophone, Alex Boneham-bass, Dawn Clemmons-piano and Jonathan Pinson-drums. The singers and supporting quartet burst upon the stage with zeal, sophistication and a touch of humor. Kendrick’s tasteful original and un-standard sounding “Scorpion,” showcasing the vocalists individually and collectiveness quickly got the audience’s attention.
New York keyboardist/composer Lena Ybarra’s “We Are” was a showcase for the vocal quartet’s harmonies with lightly funky and progressive jazz backdrop accented by electric piano. While, R&B/pop tune “I Can’t Help It” was done ala Manhattan Transfer and featured McCabe.
For something different the vocalists did what they call a “tune pairing” of “Fever” and “Burning Ring of Fire” by June Carter Cash in a gentle and easy flowing manner with McCabe soloing. Borrowing more from country with Pinson doing a solo intro was a soothingly jazzy and lightly driving version of Dolly Parton’s “Jolene” with singers all cutting loose to excite the audience.
Kendrick’s ballad-like “Never You Mind” poignantly drew attention to Black Lives Matter and social/racial injustice throughout the U.S. and the world. Additionally, the songwriter read off the multitude of black people killed by Law Enforcement with a moment of silence following that drew a standing ovation. Also political oriented was a soaring pairing of “Solid Ground/Blackbird” dedicated to the plight of women in Texas who recently had their abortion rights ripped away from them.
Säje’s original “Dusk Baby” returned the singers to their signature sound of lush harmonies and relaxed tempos. While, “Storm Comin’” by the Wailin’ Jennys, a Canadian all-women vocal group, had touches of gospel and bluegrass, along with jazz to end the program. It garnered a standing ovation with the singers conjuring up prayer-like “I am Life” for an encore, which could barely be heard due to the audience clamor. Säje, a
thoroughly modern ensemble have merch and go-fund me involvement opportunities. For more info go to: https://sajevoices.com/
After being only virtual in 2020, the Angel City Jazz Festival, which began in 2008, returned stronger than ever for number 14. There were two weeks of concerts at a variety of venues—including the John Anson Ford Theatre, LACMA, REDCAT, Skirball Center, the Lodge Room and 2220 Arts + Archives. In conjunction with the concert locations was a wide range of artists such as Mark Dresser 5, Jeremy Ledbetter Trio, Corey Fogel Group, Amirtha Kidambi’s Elder Ones, Pan Afrikan Peoples Arkestra, Orenda Records Fest, Elliott Sharp & Jeff Parker, Muttdoggs with Petra Haden, Billy Childs Jazz Chamber Ensemble with Dianne Reeves, Myra Melford and Jamie Baum Septet+1.
The most anticipated segment of the festival was Billy Childs Jazz Chamber Ensemble with Dianne Reeves at the John Anson Ford Theatre. Assembled for the special performance was: Jazz Chamber Group: Billy Childs-piano, Larry Koonse-guitar, Carol Robbins-harp, Daniel Rotem-sax, Dan Chmielinski-bass, Christian Euman-drums and Sara Andon-flute. Vocals: Dianne Reeves, Moira Smiley and Alexander Gedeon-poetry recitation. Lyris Quartet: Alyssa Park-violin, Shalini Vijayan-violin, Luke Maurer- viola and Timothy Loo-cello.
Childs set the tone for program by reciting his profound poem of thankfulness “In Gratitude” with the Lyris Quartet, vocalist Smiley and the chamber ensemble majestically following. Childs and the conglomeration continued with other superb classical/jazz merging compositions. Some of them were “Into The Light” combined with Nino Rota’s “Il Teatrino Delle Suore” from Federico Fellini’s film Juliet of The Spirits and arranged by harpist Robbins, “The Red Wheel Barrow” derived for a poem by William Carlos Williams and Childs’ Monterey Jazz Festival commission piece Music For Two Quartets, expanded to 10-pieces with the addition of guitar and harp.
The second half of the Ford Theatre concert began with a flowing rendition of Laura Nyro’s “Save The Country” featuring Smiley and Robbins. Reeves gloriously finished up the song and segued into Leonard Cohen’s “Suzanne” to blow the audience away. Afterwards the singer and mini orchestra performed Tadd Dameron’s touching ballad “If You Could See Me Now.”
Wrapping things up was what Childs called a “song cycle” consisting of three numbers titled “Enlighten Souls” influenced by his view on America as a black man in light of the 2020 racial and civil unrest. Incorporated in the very engaging work were poems: Claude McCay’s “The White House,” Diane di Prima’s “Revolutionary Letter #20” and Walter Benton’s “This is My Beloved,” along with Child’s “Black America” and “Implication.” Literally igniting the words and stealing the show was Gedeon’s powerful and call- to-action reciting, along with Reeves stirring singing that strongly impacted the audience.
Bassist Dresser’s unit at REDCAT was comprised of Chris Speed-reeds, Michael Dessen-trombone, Joshua White-piano and Mark Ferber-drums initiated the festival. They featured expansive and adventurous compositions like “Black Arthur’s Bounce” dedicated to Arthur Blythe,” chaotic “Hobby Lobby Horse” and “Inner Mo” dedicated to pianist/composer/educator/big bandleader Diane Moser. The majority of the pieces were from Mark Dresser Seven albums Ain’t Nothing But a Cyber Coup & You and Sentimental You.
Also on the bill was incredibly talented pianist Ledbetter’s trio with Rich Brown-bass and Sarah Thawer-drums. They differed strongly from Dresser, and were melodic and contemporary oriented, similar to David Benoit and David Grusin.
At 2220 Arts + Archives drummer/composer Corey Fogel’s Group made up of Beth Schenck-alto sax, Judith Berkson-piano/voice, and Mattie Barbier-trombone/electronics played compositions that were explorative, stark and far from ordinary. Amirtha Kidambi’s Elder Ones consisted of herself– vocals/harmonium/synth, Max Jaffe-drums, Matt Nelson-soprano sax/electronics and Eva Lawitts-bass. Their music reflected politics, reactions to racism beyond black and white, sexism, police violence and South Asian identity.
Jazz at LACMA featuring the Pan Afrikan Peoples Arkestra marked milestones for LACMA’s 30th anniversary and the Pan Afrikan Peoples Arkestra’s founded by pianist/composer Horace Tapscott 60th anniversary. The mighty ensemble included Mekala Session-drums/bandleader, Roberto Miranda-bass, Jamael Dean-piano, Derf Recklaw-percussion, William Roper-tuba, Fundi Leghon-French horn, Masai Marcelin-trombone, Tatiana Tate-trumpet, Corbin Jones-tuba, Randal Fisher-reeds, Devin Daniels-reeds, Michael Session-reeds, Ricky Washington-reeds, Riyan El-magharbel-oboe, Kafi Roberts-flute, Maia-flute, Sharada Shashidhar-vocals, Dwight Trible-vocals, Kamau Daood-spoken word and special guest Kamai Washington-reeds.
Needless to say, this big band and a half roared through Tapscott and Coltrane originals, along with new tunes written by some of the band members. More than anything, the emphasis was on cultural preservation of African-American music, and Daood through spoken word drove the point home. Re-enforcing everything was the stellar performances of the musicians individually and collectively, that hopefully will continue for another 60 years.
Clearly, a festival within a festival, Orenda Records Fest at 2220 Arts & Archives showcased a collection of five different ensembles from the label with a strong emphasis on classical merging with jazz. The groups and players were Jon Hatamiya’s Big Band premiere of a new piece commissioned by the Los Angeles Jazz Society‘s for their Jeff Clayton Memorial New Note Award. Jon Hatamiya-trombone/composer/arranger; saxes: Alex Hahn, Devin Daniels, Matt Richards, Chris Sullivan, Herny Solomon; trombones: Steven Robinson, Abdullah Ebrahim, Ido Meshulam, Jake Kraft; trumpets: Ryan DeWeese, Rigo Velez, Harry Ostrander, Aidan Lombard; rhythm: Adam Hersh-piano/synths, Colin Cook-guitar, Yunus Iyriboz-guitar, Dan Chmielinski-bass, Colin McDaniel-drums.
Bridge to Everywhere included: Derrick Skye-Conductor, Rachel Iba- violin, Yvette Holzwarth-violin, Anna Kouchnerov-violin, Nikki Shorts-viola, Chris Votek-cello, Hanna Arista-vocals/percussion, Neelamjit Dhillon-reeds, Phillip Graulty-acoustic guitar, Dimitris Mahlis-oud, Mark Gutierrez-bass, James Waterman-percussion. Cathlene Pineda Quartet was Cathlene Pineda-piano, Kris Tiner-trumpet, David Tranchina-bass and Tina Raymond-drums. NOICE included Alexander Noice-guitar, Argenta Walther-vocals, Karina Kallas-vocals, Gavin Templeton-alto saxophone, Miller Wrenn-bass and Andrew Lessman-drums. Concluding the mini fest was the Dan Rosenboom Quartet consisting Dan Rosenboom-trumpet, Joshua White-piano, Richard Lloyd Giddens Jr-bass and Mark Ferber-drums.
At the Lodge Room guitarists Elliott Sharp and Jeff Parker did sonic intermeshing that incorporated loops, sequences and variety of effects. They took the audience on a voyage that at times seem to go beyond the limits of time and space, with touches of blues, rock, jazz and avant-garde thrown in.
Alternatively, Muttdoggs with Mike Watt-bass, Joe Berardi-drums, Motoko Honda-keyboards and Petra Haden-guest vocals/violin were more conventional. Initially, without Haden the group did fusion and atmospheric jamming. Haden later joined with enchanting wordless singing, and searing violin playing to take things to another level. During the later stages of the set Sharp and Parker joined the group to add more depth and a spacey dimension, with Haden’s vocals soaring above the Miles Davis Bitches Brew-like outing.
Closing out Angel City Jazz Festival #14 was Myra Melford and Jamie Baum Septet+1 at the Skirball Center. Melford playing solo piano for melding of styles “Be Melting Snow” inspiring by a Rumi poem, Andrew Hill’s sweeping “Images of Time,” pastoral “Park Mechanics” and somewhat madcap pacing “The Heart The Garden” in memory of drummer/percussionist/Professor Emeritus of Music (Bennington College)/researcher/inventor/ visual artist/sculptor/[gardener/herbalist/martial artist Milford Graves.
Flautist Jamie Baum’s Septet+1 included Jonathan Finlayson-trumpet, Sam Sadigursky-alto sax/bass clarinet, Chris Komer-French horn, Brad Shepik-guitar, John Escreet-piano, Ricky Rodriguez-bass, and Jeff Hirshfield-drums. They played forward-thinking pieces showcasing the bandleader’s interesting compositions and arrangements. From her recording Bridges “From The Well,” “Lament” “Song Without Words” and Honoring Nepal: The Shiva Suite last two movements “Renewal” and “Contemplation” were performed. Additionally from an upcoming project “In Light of Day” and “To Be in Use” influenced by Marge Piercy’s poem were featured. For more info about the Angel City Jazz Festival go to: https://angelcityjazz.com.
Rising star pianist Paul Cornish as part of pianoSpheres series performed solely at Colburn School’s Thayer Hall. The special program was titled The Genius of Black Women Composers featuring their compositions and one of his own originals. For Julia Perry (1924-1979) winner of two Guggenheim Fellowships who had a premiere with the New York Philharmonic it was sullen classical piece “Prelude for Piano” (1946). Florence Price (1887-1953), who was the first African-American woman to be recognized as a symphonic composer, intermixed classical with blues for “Fantasie Negro No. 4” (1932).
From a modern perspective highly respected Geri Allen’s (1957-2017) “Unconditional Love” (2004) radiantly cascaded. While for jazz pillar Mary Lou Williams (1910-1981), excerpts from her thematic and jaunting Zodiac Suite (1945) were showcased.
During the second part of the program Cornish’s contemporary LaTasha Bundy’s (b.1992) remarkable Capybara Blug, a World Premiere, and also a Piano Spheres Commission influenced by Gabriel Faure’s “Nocturne No.1,” Miles Davis’ “So What” and Bach’s “Little Fugue in G” was spotlighted. Concluding the showcase was Cornish’s very 21st century World Premiere of Call Her Genius. It incorporated recorded dialogue and electronic keyboard sounds with his dazzling acoustic piano playing to garner a standing ovation. For more information go to: www.pianospheres.org and www.paulcornishmusic.com.
Mr. P.C. Coltrane Revisited 2021
The Baylor Project ft. Jazzmeia Horn & Dianne Reeves
We Swing (The Cypher)
I Will (Official Music Video)
Nightingales & Fairy Tales
Based in a Chicago hotel in 1948, three black women, The Girl With a Date (Jenna Gillespie Byrd), The Woman of the World (Karole Foreman) and The Lady From The Road (Vivian Reed), along with a black man, The Man in The Saloon (Chester Gregory substituting for Parris D. Mann), in a limited role, convey their experiences and feelings through song and dance.
The production of Blues in The Night at Long Beach’s International City Theatre in association with Ebony Repertory Theatre was conceived by Sheldon Epps and directed by Wren T. Brown. The cast members take turns singing solos while the other actors are in are in their respective rooms, changing clothes, primping, reading and reminiscing to a live jazz combo.
On some numbers the songs morphed into duets or trios with the actors displaying mutual reactions to the commonality of the lyrics. The off stage musicians were pianist, William Foster McDaniel; bassist, Del Atkins; drummer, Clayton Cameron; reedist, Scott Mayo; and trumpeter, Fernando Pullum; who were spot-on with their cues, never overplayed, and had moments to solo and stretch out.
The actors sang and danced, often featuring, “The Lady From The Road,” and “The Man in The Saloon,” who added some pimp-like moves with attitude. Musically, the production serves up six Bessie Smith songs, with her “It Makes My Love Come Down” and “Reckless Blues” being among the highlights. Ida Cox’s “Wild Women Don’t Have the Blues” became a reoccurring theme and was also a jam session for the musicians. Other noteworthy renditions were “Stompin’ At The Savoy,” “Lush Life,” “Blues in The Night” theme, and “I Gotta Right to Sing The Blues.” Overall, a solid production featuring numerous great songs performed by a talented cast; supported with a high-caliber band.
Blues in The Night
Through Nov. 7th
Beverly O’Neill Theatre International City Theatre
330 E. Seaside Way
How They Got Over is definitely not the first documentary to cover gospel music, its history and components. This particular one focuses on the genre’s projection through the quartets and small ensembles, which in their own small orbits were “superstars.” This though, was long before the advent of television and the Internet. Prior to radio, records and even the Civil War black singers, blackface and white-faced traveled around entertaining audiences, black and white through a cappella minstrel and spiritual singing.
During Reconstruction the Fisk Jubilee Singers legitimize the singing as an effort to raise funds for Fisk College. Offshoots of the HBC group developed and by the 1920’s with arrival of cylinder recordings and hand-operated players there was a cottage industry of gospel singers who deviated from traditional spirituals and were more energetic than their predecessors.
Radio helped promote the groups and they bounced from station-to-station drumming up excitement prior to their arrival in a new town.
Through archival footage from kinescopes and the 1960’s TV show Gospel Time, gospel stars are highlighted such as Thomas Dorsey, Willie Mae Ford Smith, Soul Stirrers, Dixie Hummingbirds, The Blind Boys of Alabama, and The Blind Boys of Mississippi, Sensational Nightingales, Mighty Clouds of Joy, Highway QCs, Davis Sisters, Sister Rosetta Tharpe and others.
Additionally, their styles and distinctive approaches are noted. Furthermore, the actuality of surviving, dealing with Jim Crow racism and financial realities are all an integral part of the narrative. There was plenty of acclaim and attention; but being in a gospel group was not an easy or profitable lifestyle.
As the groups developed, they began integrating guitars and other instruments. The Pentecostal Church was way ahead of everyone else by featuring full instrumentation with the singers who and totally “rocked out” during their services. During the late ‘40s and into the ’50s and ‘60s, blues, R&B, and rock and roll, were all tremendously influenced and impacted by gospel music. Many of the top stars were lured away by comparatively large salaries and bonuses. Among them were Sam Cooke, James Brown, Wilson Picket, and Aretha Franklin. And by the ‘70s, gospel choirs such as the Edwin Hawkins Singers had overtaken the small groups
Director Robert Clem labored for12 years to put the documentary together and sadly many of the artists interviewed have passed away. Fortunately, their contributions and accomplishments are acknowledged through this comprehensive documentary. It’s a must-see for anyone who loves blues, R&B, rock and roll, and of course gospel music.
HOW THEY GOT OVER
Los Angeles, CA
Instagram Live Friday
NOV 2 JULIA SMULSON QUINTET
Julia Smulson – Vocals Thaddeus Tukes – Vibes
Connor Mannebach – Piano
Clark Sommers – Bass Alejandro Salazar – Drums
Special Guest – Wyatt Waddell
NOV 3 TRIBUTE TO BRENO SAUER
Neal Alger – Guitar
Jim Massoth – Saxophone
Leandro-Lopez Varady – Piano
Michael Arnopol – Bass
Dede Sampaio – Drums
NOV 4 ERIC HINES & PAN DULCE
Eric Hines – Tenor Pan/Percussion
Joaquin Garcia – Keys
Freddy Quintero – Bass
Tommaso Moretti – Drums
Jean-Christoph Leroy – Percussion
NOV 6 FSC UNITY NIGHT
Benefit for the Programing at Fulton Street Collective NICK MAZZARELLA QUARTET
Live Visual Art w/Arthur Wright, Lewis Achenbach and Melanie Brown. 6:30 – 10pm FSC GOFUNDME
NOV 9 PHAREZ WHITTED w/ CYSO JAZZ ORCHESTRA
NOV 11 ELTON JOHN’SMADMAN ACROSS THE WATER
performed LIVE Celebrating the Album’s 50th Anniversary
Christopher Neal – Vocals
Dan Ingentron – Piano
Neal Alger – Guitar
Larry Kohut – Bass
Gerald Dowd – Drums
Katherine Andrick – Viola
Violin/Cello – TBA
Sam Wolsk – Arrangements
NOV 16 PAUL ABELLA TRIO
Paul Abella – Drums
Billy Denk – Guitar
Chris Bernhardt – Bass
LIVING WITH TOLLWAYS
Randy Trubitt- Reeds
Matt Riggen- Bass
Kevin Almazan- Drums
NOV 17 JEFF MEDER TRIO
Dave Meder – Piano
Marty Jaffe – Bass
Jonathan Barber – Drums
NOV18 IMAGERY CONVERTER
Javier Red – Piano
Jake Wark – Tenor
Sax Ben Dillinger – Bass
Gustavo Cortiñas – Drums
NOV 23 FROSCH/BOMAR TRIO
Jackson Frosch – Guitar
Sam Frosch – Bass
Steve Bomar – Drums
KABIR DLAWARI QUARTET
Kyle Brooks – Saxophone
Eric Arroyo – Piano
Vince Espinoza- Bass
Kabir Dalawari – Drums
NOV 30 LEE MORGAN TRIBUTE with ERIC JACOBSON QUINTET
Eric Jacobson – Trumpet
Scott Burns – Sax
Dan Trudell – Piano
John Tate – Bass
George Fludas – Drums
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 hris Potter event image
ARTS FOR ART PRESENTS
ON_LINE SALON SERIES FEATURING MUSIC & CONVERSATIONS
107 Suffolk Street
New York, NY, 10002 212-254-5420
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.
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 www.vangelder.live
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 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. 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 https://necmusic.edu/concerts
Jazz Education Network 1440 W Taylor St #1135 Chicago, IL 60607 United States https://jazzednet.org
2022 JAZZ EDUCATION NETWORK 13TH ANNUAL CONFERENCE January 5-8, 2022 • Dallas, TX
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 Singer/lyricist/pianist
is not doing well at all. If you who have enjoyed the gift of Dave’s music, please feel inspired to help him now that he needs it. https://www.gofundme.com/f/help-dave-frishberg
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.
November Special Guests for JAZZ AT LACMA
Nov 7 Munyungo’s Jungle Jazz
Nov 14 ELEW Nov 21 Billy Childs
Nov 28 Rumproller Organ Trio and Special Guests
November Special Guests for Beyond Symphonic Jazz
Nov 1 Jan Garbarek
Nov 8 Vocalist Mandy Barnett remembers Sammy Nestico
Nov 15 Eumir Deodato –
Nov 22 Dave Douglas
Nov 29 Gerald Albright
For more info go to: kkjz.org
Any information to be considered for this column can be sent to: