posted by Robert J. Carmack #@blues2jazzguy At a recent interview with a Chief Executive at London 5 Studios in England, It was announced that 9 year old Joshua Grant has been selected to the cast of ” Little Melanie” a new TV show still in pre-production development. The show is based on a book conceived and developed by Ms.Melanie Greene, that’s centered around a little girl who is a piano prodigy. “Little Melanie” has a strong commitment to excellence and a dream to one day be as great as her idol, jazz pianist Hazel Scott. the young girl’s character is debuting with a launching of the first book, followed by another 149 + books within the massive children series.
In the TV series, Joshua Grant will portray a character, Aden that plays drums in the TV show Little Melanie Live! This new show promises to dominate children’s television and spawn several movies and merchandise items. Grant has made many appearances on his drums and is very popular among his school mates in Atlanta . Among the most recent shows are the Harry Connick Jr Show where he and other youngsters are jamming with Harry’s TV Band on-air.
Rumors has it, He’s being wooed for another TV appearance by a famous daytime television show host in Hollywood very soon.
World Debut of Hazel Scott inspired Children Book Series and Television show coming soon to a channel and book shelf .
It was announced by a media spokesman for the LONDON5 STUDIOS. Creation and Books authored by Melanie Greene.
Little Melanie Children’s book series is a development and creation of London 5 Studios, headed up by Melanie Greene and her brilliant team of artists, writers and musical geniuses. the very first book, My Grand Piano is solely based on a little girl’s dream to become as great as the Jazz legend Hazel Scott on piano. Even insisting on exclusively playing only a Steinway piano, which was the signature choice by the great Hazel Scott. Little Melanie also has a positive quality about her that’s simply unmatched in children’s programming today. the series is muscular 150+ books, followed by London-based TV show that reflects a very diverse cast of characters, and special guests to be added later on as the Little Melanie unfolds into a its’ full potential. This writer will be keeping you informed about the latest developments involving this grand presentation and innovative series/TV show. follow it also at twitter #@blues2jazzguy…www.hipstersanctuary.com.
The 22nd Annual Central Avenue Jazz Festival, hosted by L.A. Council member Curren D. Price, Jr., is upon us, and we hope you can join the party as we celebrate South L.A.’s rich cultural past, present and future!
The FREE event on Saturday, July 29 and Sunday, July 30 from 11 a.m. to 7 p.m., includes performances by dozens of highly talented and recognized Jazz musicians.
The two-day festival will feature prominent performers on three stages with live music, pavilions focused on arts, health, youth, business and employment resources along with food and merchandise available to purchase. For more information, including a complete schedule of performances,
“Profound Simplicity”- A Glimpse of Dwight Trible” by Kristina McBride
I’ve been spinning quite a bit of music lately, listening to the inner urge of Joe Henderson’s tenor sax, Lee Morgan’s blistering trumpet solo telling it like it is, Black Arthur breaking down Lenox Ave on my new Rega RP3 with a fantastic vintage Scott 382-B amplifier and speaker combination. The music and sound combination that comes at me is sensational, bringing me closer to the music more than ever. I’ve begun to listen to and feel music more deeply over time. Through music I travel freely through time and space, exploring my inner-most emotions and dreams. In the spellbinding voice of Dwight Trible, I embark on a musical voyage, exploring new depths of musical consciousness.
He is a vocalist-songwriter, poet and musical healer. That he is so shamefully under-acknowledged in the music world is especially contemptible considering how badly the world needs his music. He successfully fuses jazz, blues, and gospel while also being known to reference opera and Gregorian chants during his presentation. He’s collaborated with contemporaries such as J-Dilla, Kamasi Washington, and John Beasley. I stumbled upon his music on a balmy Florida afternoon while I listened to WPFW in Washington, D.C. I heard Trible’s sonorous voice laced on top of the lush, romantic piano, string and percussion ensemble of Quasimode as he sang “Midnight Flower”. I was captivated straight away, my body becoming warm and I became aware of the sensual arousal I felt as I listened. His voice beckoned me, touching my soul with the immediate force evoked by the supernatural allure of his voice.
Trible is a full-bodied baritone that can ascend to a soul-stirring falsetto that is unwavering at any tempo or volume. His profound connection to music is present in each song he approaches. Trible’s masterful interpretation of Andy Bey’s “Celestial Blues” is the epitome of spiritual jazz singing, where he showcases his masterful, soul-stirring vibrato and vocal range. Trible’s singing is evocative of vibrant colors and textures, of romance, peace, and happiness. It has healing power, a unifier, a beacon of hope and light.
Trible grew up in Cincinnati, Ohio with three siblings and both his parents. He began singing as a young child, inspired by his mother. “I remember sitting on the couch when she cleaned up, and I couldn’t have been more than two or three years-old. But I would just sit there and listen to my mother sing, mesmerized, almost in a trance. So, I guess she was probably my first inspiration for singing. Judging from my personality and my makeup perhaps I really didn’t have a choice in the matter, because when I look back on what else I could have done had I not been involved in that…for the most part I cannot think of anything else that it would be,” he remembered.
“From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And you be the most Dwight Trible you can be. And that’s all it is.”
when I asked him how he began singing, and what he aspired to be when he grew up. His mother would send them to the local theater after church every Sunday, and to keep from growing bored while watching the film, he began improvising to the music.
“I wonder what your siblings thought of you doing that,” I asked him, laughing as I imagined him with his then short legs dangling from the chair as he crooned to the music.
“Oh, they would be so angry with me. I remember once, my brother coming home and telling my mother, ‘Dwight was in-there singing again! He was in-there singing again!’” he recalled with a boisterous laugh. “’Cause God knows how loud I was singing. I guess I did it so much and it probably used to get on their nerves, but it was my nature to do it.” Surely these early singing experiments brought him a long way to becoming a master of his craft.
Trible was saturated with music throughout his childhood, drawing inspiration from Mahalia Jackson, Aretha Franklin, Donny Hathaway, and Linda Jones, who had the 1967 hit “Hypnotized, tune that had a major influence on his singing style. “I was a Linda Jones freak! She was somebody that really resonated with me, and I would say that I was influenced by her more than anyone else, “ he remembered. He later sang with local R & B and gospel groups before outgrowing the Cincinnati music scene. He deeply felt he had to go abroad in order to grow as an artist, and was encouraged by his peers and fellow musicians.
He set his sights on Los Angeles, California, arriving at an extremely fertile time, and was quickly ushered into the L.A. music community by the late legends pianist Horace Tapscott (whom he later dedicated a whole album to) and drummer Billy Higgins. When I asked him what it was like being mentored by Tapscott, he was full of enthusiasm in his response and gave a funny anecdote: “Everything that I thought I knew about music, when I heard this guy play for the first time, it just blew my mind in such a way that, everything I knew, had to go, because I’d seen the light! And, it was strange because when I first saw him, he would come to the club where I was performing, and I’d be on stage and he’d be at the door watching. I would close my eyes and sing a few bars, and by the time I’d open my eyes, he’d be gone! He always did this. It was something else, man… and then one day, he told me to come to his house. I showed up and he had all these plans laid out for me to join The Ark (the nickname for the Pan Afrikan People’s Arkestra). And I was stunned because I didn’t think I was ready for all of that. I guess he felt I was.”
Tapscott appointed Trible to vocal director of the Pan-Afrikan People’s Arkestra shortly after, a move that would boost his confidence as a musician and would expand his profile throughout the music scene.
He later had the fortune of meeting the great Billy Higgins, who thrusted him out of his shyness and exposed his immense, unique talents to several giants of the jazz world: Pharaoh Sanders, Bobby Hutcherson, Charles Lloyd, and Mulgrew Miller. Although he and Pharaoh were familiar with each other, their musical collaboration didn’t come until after Higgins passed away. “Higgins was a guy who made everybody that he played with sound better. He had this way of sizing you up really, really quickly. He had this sort of telepathy where he knew, when you first started playing with you, he could get inside you, find out who you were, and what you needed. Then he would give you that “thing” to take you over the top. He just had that magic.
That’s why everybody, from Herbie Hancock on down, loved playing with Billy Higgins,” he reflected with nostalgia and deep affection in his voice. He later met the late vocalist Betty Carter, and was impressed by her artistry and professionalism, and would go on to incorporate a great deal of her style in his own singing. “And I would say that’s really it for me. And all the rest is me and the spirit working together, “he says optimistically. This writer could feel the peace he had within himself in his words, brimming with optimism.
The Leimert Park arts scene in L.A. is a significant part of Trible’s identity and purpose as an artist and community advocate. He has served as the musical director of the World Stage for the past five years and has worked with the numerous grassroots organizations to fight against the threat of gentrification that targets the historic black cultural epicenter of the West Coast. He can often be found performing at the Blue Whale or The World Stage with a stellar lineup of musicians.
When he’s not singing in L.A. he can be found on a trans-Atlantic flight to London, as he recently did to cut a record with Matthew Halsall titled “Inspirations” (Gondwana label), released in June. He travelled across the pond to London to record with Halsall, as well as touring several cities throughout Europe.“Everywhere we went, you know…the people really, really loved it. Every house was completely packed, and there wasn’t a dry eye in the house every time we finished,” he told me when I asked him about the tour. I can see how that could totally be the case. His voice stirs something inside you when he sings. No matter what language you speak, where you’re from, your age, it reaches you. Sadly, he’s not well-known here in the U.S. where he has been singing for nearly 50 years.
It is beyond comprehension that he could have sung and collaborated with heavy-hitters such as Kenny Burrell, Harry Belafonte, Harold Land, Patrice Rushen, and Kenny Garrett, yet still be low-profile. When I asked him his thoughts about this low-profile in the music world, he replied, “Yeah, it’s kinda interesting how I can go over there and probably work as much as I want to, whereas here, in this country, it is probably more difficult for me to get work here than it is over there.”
“It’s kinda sad,” I replied to him solemnly. “A hard time to be an artist. Too many musicians are struggling to find work here and there’s nowhere for them to play anymore. All the venues are drying up because of rising rents for venues and the cost of living for the artists, and widespread gentrification in the places where the music is popular. And the musicians hardly get paid anything on a gig most of the time. It’s a travesty and a great disservice to the music.”
His optimism and beautiful spirit radiated in his reply:
“Well, you know, I don’t look at it as sad really. I just think that it’s just the way things went, and the beautiful thing is, again, every day I get the opportunity to wake up and do what I love to do. And that’s the main thing. So as long as that can happen, I don’t think of any of it as sad. It’s all good, as far as I’m concerned.”
The album title came from the feeling that the world needs inspiration to carry on in these dark times, in the era of Donald Trump and uncertainty, hopelessness, and anxiety felt amongst many people right now. He delivers a spellbinding version of “What the World Needs Now”, a swinging waltz much like the feeling and style of Coltrane’s signature tune “My Favorite Things”. This writer wondered, if he got inspiration from Coltrane to record this song in this manner, with him as a being a major influence on Trible. The addition of a harpist (Rachel Gladwin channeling a bit of Alice Coltrane in this tune) gives the song an ethereal, jubilant feeling that propels your spirit forth into an ocean of good vibes. Trumpeter Matthew Halsall executes a soulful, yet melancholy solo calling for hope and love for humanity through his horn. Trible finishes out the song and takes us to church, getting down and gritty with his gospel-styled ad-libs. He puts his trademark on several standards throughout the album such as “Feeling Good” and “Ooh, Child”, but you will not get bored hearing them again. Dwight put his signature style on each and everyone of them.
There are many vocalists out here singing, yet Dwight Trible stands-out on an island of his own. He’s truly an artist with such versatility that has something for everyone, and plenty to give. He has an ingenuity that is clearly present in his singing… and that radiates from his spirit. He’s not in this for the fame or fortune (if only!!), but in my mind, be a messenger of love and peace, which are common themes of many of the songs he sings.
He broke down his philosophy for me and outlook on life: “From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound, it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And being the most Dwight Trible I can be. And that’s all it is.” ### (follow Kristina Mcbride on this blog)
Keystone Korner’s 45th Anniversary Celebration July 7 & 8 2017
One of the best Jazz weekends in the San Francisco Bay area in decades. First, after you get over the initial shock of the lineup and why, then it all makes sense.
I was in touch with Todd Barkan as soon as I heard through the grapevine there was truly some type of celebration being planned months ahead of the date. This of course forced me to research and find out just who actually played the North Beach venue .
Many of the great ones that played Keystone Korner are no longer with us.. But Todd selected an absolute stellar group of musicians, all legends and all-stars in their own right. Tenor Saxophonists, Mel Martin and Azar Lawrence, Alto Sax, Gary Bartz and Charles McPherson , Bassists, Juini Booth and Ray Drummond, Drummers Akira Tana and Roy McCurdy, Percussion Kenneth Nash, Guitarist Calvin Keys, Pianist Denny Zeitlin and Theo Saunders, plus a great group from Japan, Atsuko Hashimoto B3 jazz trio.
photo by brian mcMillen
Equally important as the musicians themselves , Todd chose great venues for the presentation . starting on July 7 at Kuumbwa’s Jazz in Santa Cruz, a coastal city ripe for a top-shelf jazz set.
The very next day, Saturday July 8th, it couldn’t get any better for a gorgeous afternoon of riveting jazz. He chose the gem of the bay area, Bach Dancing and Dynamite Society. A unique club carved out of a beautiful home on the cliff side staring into Half Moon Bay, just south of San Francisco on the peninsula. Follow that Car!! great management, great drinks and service.
You know it not always clear where your next great story is going to come from or, who you might see along the way to that story. but one thing for sure , If you know anything about Todd Barkan..You just grab a brew or some wine, sit down and listen. Todd Barkan the successful Jazz presenter, piano player, record producer, jazz archivist, and husband.
As I looked around the sanctuary and hung-out down in the green room, I observed the interaction between Todd Barkan and the many friends and fans of the “Korner”,but mostly the musicians, the “fellas”, there was a special kinship or bond between both presenter and musicians. It’s not even close to being that way “now days”. In my chats with several of the band members and supporters leading up to this great weekend, well almost to a man, they all said pretty much the same. “Todd is one of us.. we are family. “Sadly, a lot of the old gang who frequently played the club during its hey-day are no longer with us. Their spirit lives on in Todd and the musicians memories.
Part of the weekend which also made it a special “NICE TOUCH” was having some of the photographers who were, and still a big part of archiving this genre and historic occasions in the Bay area. Three of the best were among the guests at the happenings , Ms. Kathy Sloane, who published a book about the days and nights at Keystone Korner. Fellow shutterbugs, Jim Bourne and Brian McMillen weaved in and out of the scene and captured many great shots to document (see a smattering of their work below)
photo by Brian McMillen
photo by Jim Bourne of Juini Booth
Akira Tana & Kenneth Nash photos by Jim Bourne
photo by Jim Bourne of Ray Drummond
Bach Dancing and Dynamite Society(founded loosely in late 1950s by Pete Douglas). But officially as a Jazz and classical music venue in 1964. The crown jewel of Bay area venues was the true “scene of the crime.”
Just prior to his opening remarks, Todd seemed like he was reflecting over his well documented record of work over the last 45 years plus!
1972 -1983, Over a decade in great music was presented on a 7 day a week basis at Keystone Korner in North Beach. And, all of San Francisco, even the “East Bay peeps” came across the bridge on any given night to see the sights, enjoy the fruits of labor from the giants. Dexter Gordon, Rahsaan Roland Kirk, Stan Getz, Bill Evans and McCoy Tyner,Mary Lou Williams, Art Pepper, Freddie Hubbard, Zoot Sims and Charles Mingus,Bobby Hutcherson,Cedar Walton ,Art Blakey, Michael White featuring Kenneth Nash and, Ed Kelly on piano and Ray Drummond bass.
Todd opened the club in 1972, and that was the starting point for greatness that never ceased until the last act in Charles McPherson’s group playing the last set 1983.
Charles McPherson photo by Jim Bourne
Part of the “pomp and circumstance” were watching all that talent being switched around and configured to fit mood, moment and personnel, which was masterfully orchestrated by the “Todd-Father”(Barkan) . a pleasant surprise insertion was Theo Saunders for Benito Gonzalez ..the native new Yorker demonstrated why he’s a first-call pianist in Southern California, even international, as Saunders bio reads like a who’s who in jazz for over three decades.
A Bright Moment for me was a beautiful duet ballad by old friends, Denny Zeitlin and saxophonist Gary Bartz. Before beginning the song, Denny told the story of meeting Bartz in a jam session while at a Baltimore, Maryland club sitting-in on piano. (club owner was Gary’s Dad) the two clicked immediately musically, but Zeitlin had a small dilemma, He was studying medicine at John Hopkins with a burning desire to become a physician. But Zeitlin worked it all out. The two musicians are still friends today, Denny is also jazz pianist and also a respected Doctor of Psychiatry in the S.F. Bay area.
Photo by Robert J. Carmack Denny & Gary duet
Another stand out and surprise performances were a jazz trio from Japan, playing in a traditional B3 style group with Organ , Saxophone and Guitar. this stellar group was led by this very animated and dynamic B3 organ player, Astuko Hashimoto, Guitarist Yutaka Hashimoto, saxophone Hedeki Karamura.
Astuko Hashimoto photo by Jim Bourne
hideki kawamura photo by jim bourne
Yutaka Hashimoto photo by Jim Bourne
Our friends from Japan were extremely busy on a blistery up-tempo blues in F, which stirred up things. It sort of reminded us of days of Jimmy Smith and Shirley Scott. Astuko brought the Fire!
As soon as all the smoke cleared from the Bach Dancing and Dynamite Society’s sanctuary, especially as the ZAR-Meister(Azar Lawrence reunited with bassist Juini Booth(original live album at Keystone Korner, Atlantis by McCoy Tyner) added drummer Roy McCurdy and pianist Theo Saunders took us on a journey to Africa to Atlantis and back to Half Moon Bay. Word was, they had a gathering crowd about to converge on the restaurant Pier 23 on Embarcadero for part two of the Saturday’s festivities. A quaint and cozy Jazz spot off the Pier. Great enthusiasm with a full house awaiting to start the show 8pm hit at Pier 23. This crowd was grassroots and tuned in all the pyrotechnics that were to come later as the personnel expanded to included such jazz luminaries as saxophonist John Handy, trumpeter David Hardiman and SF Bay area’s Jazz man/Pilot, Roger Glenn on flute. along with Mel Martins band mates, plus Larry Dunlap, Jeff Marr. to name a few.
Mel, Gary, and Azar.. photo by RJ Carmack Pier 23 July 8 2017
Easy Flowing Calvin Keys photo by Jim Bourne
Big shout out to all the management and owners of the various Jazz venues. your staff and personnel were professional and very warm.. Thanks to Mr. Todd Barkan, for all the Bright Moments, historic sessions,and recordings . You ARE truly a Jazz Master.(2018) Congratulations!!
Special Thanks to Mel Martin and his lovely wife for helping me out in a glaring situation. Catch my interview and chat with S.F. Bay legendary musician Mel Martin.
Meet Newly added Jazz Editor at Large.Coming July 30th Kristina McBride debuts at the Hipster Sanctuary with an in-depth interview with the soulful and quite sublime, vocalist, Dwight Trible.
Theo Saunders Keyboards with Juini Booth in background photo C. Koton
Robert J. Carmack Emcee/Spoken Word Poet photo A. Scott Galloway
A. Scott Galloway Music journalist
Re-posted from Facebook Post July 6th ..
Had the pleasure of taking in some smokin’ live jazz with fireworks as a backdrop for my 4th of July at a new REAL Jazz spot in Glendale named Zebulon. The quartet on deck equally featured saxophonist Azar Lawrence, drummer Roy McCurdy, keyboardist Theo Saunders and bassist Juini Booth paying homage to McCoy Tyner, John Coltrane and Elvin Jones. The emcee for the evening was Robert J. Carmack who also got in two powerful spoken word pieces with these giants at his back.
Try to make it out to this fine new venue which has a bar/lounge in front and a nice sized room for live music in the back. Also has valet parking and limited adjacent free parking on the streets behind it…on Fletcher Drive just north of Riverside Drive. Consider yourself hip tipped!
Buster Williams & Jazz Journalist Robert J. Carmack photo by Robert Hill
posted by Robert J. Carmack
You know anytime you have a name like Buster , the bar is already set high! No need to worry as the 75 year old bassist did not disappoint the crowd attending the concert at Nate Holden Performing Arts Center in Los Angeles last weekend(June 24). Buster Williams led an all-star team of jazz veterans into los Angeles anchored by the iconic drummer, Lenny White.
Lenny White drums
One of the surprises of the evening was the youngest member of the band in pianist,George Colligan. George is a jazz pianist, organist, drummer, trumpet player, educator, composer and bandleader based in Portland, Oregon. Colligan was born in New Jersey, and raised in Columbia, Maryland. He attended the Peabody Institute, majoring in classical trumpet and music education. In high school he learned to play the drums and later switched to piano. His playing is influenced by Chick Corea, Miles Davis, Herbie Hancock, Thelonious Monk, Wayne Shorter, and McCoy Tyner. The influences showed in many ways as he blistered solo after solo , which at times he seemed to levitate up from the piano stool, especially on a time honored classic as “I Didn’t Know What Time It Was”
George Colligan
Steve Wilson has attained ubiquitous status in the studio and on the stage with the greatest names in jazz, as well as critical acclaim as a bandleader in his own right. A musician’s musician, Wilson has brought his distinctive sound to more than 150 recordings led by such celebrated and wide-ranging artists as Chick Corea, George Duke, Michael Brecker, Dave Holland, Dianne Reeves, Bill Bruford, Gerald Wilson, Maria Schneider, Joe Henderson, Charlie Byrd, Billy Childs, Karrin Allyson, Don Byron, and Mulgrew Miller among many others. He has eight recordings as a leader.
Steve Wilson.
Charles Anthony “Buster” Williams is THE “consummate” jazz bassist. Williams is known for his membership in pianist Herbie Hancock’s early 1970s group, working with guitarist Larry Coryell in the 1980s. Mid-1960s Buster recorded a plethora of sessions with Jazz Crusaders. He also worked in the Thelonious Monk Repertory Band, Mary Lou Williams Collective, Harold Land Quintet, Sphere and as the accompanist of choice for many singers, notably Ms. Nancy Wilson.
Buster soloing is as sublime as a “brand new Rolls Royce’s interior…his lines are impeccable, as he directs the band through his dynamics in the compositions. He gets the absolute maximum out of a quartet. with a drummer like White who paints as well as keeping time, but more importantly , the unit engages the audience into the story by the composer. Colligan’s experience with Buster, goes all the way back to the mid 90s, which gives him an edge to lead the band with his melodic solos into uncharted waters. Steve Wilson on Sax tends to provide at times, hummingbird-like precision playing of the melody. Followed by his own sub-themed compositions inside the original piece.. which acts like a butterfly leaving a cocoon. All in tow of placing the listener on the edge of their seats. He certainly made it a glorious occasion on last Saturday night performances. Salud!! Salud!! Master Buster. Thank You JAZZ BAKERY and RUTH PRICE!
“You Don’t Just Hear the Music,You Experience the Music”
when I asked him how he began singing, and what he aspired to be when he grew up. His mother would send them to the local theater after church every Sunday, and to keep from growing bored while watching the film, he began improvising to the music.
When he’s not singing in L.A. he can be found on a trans-Atlantic flight to London, as he recently did to cut a record with Matthew Halsall titled “Inspirations” (Gondwana label), released in June. He travelled across the pond to London to record with Halsall, as well as touring several cities throughout Europe.“Everywhere we went, you know…the people really, really loved it. Every house was completely packed, and there wasn’t a dry eye in the house every time we finished,” he told me when I asked him about the tour. I can see how that could totally be the case. His voice stirs something inside you when he sings. No matter what language you speak, where you’re from, your age, it reaches you. Sadly, he’s not well-known here in the U.S. where he has been singing for nearly 50 years.
It is beyond comprehension that he could have sung and collaborated with heavy-hitters such as Kenny Burrell, Harry Belafonte, Harold Land, Patrice Rushen, and Kenny Garrett, yet still be low-profile. When I asked him his thoughts about this low-profile in the music world, he replied, “Yeah, it’s kinda interesting how I can go over there and probably work as much as I want to, whereas here, in this country, it is probably more difficult for me to get work here than it is over there.”
COME ON OAKTOWN AND ALL OF THE EASTBAY
