He Knows How Much We Can Bear
Terell Stafford – trumpet, flugelhorn
Tim Warfield – tenor sax, soprano sax
Martin Wind – bass
Matt Wilson – drums
Mulgrew Miller – piano (RIP)
2006, Große Konzertscheue, Jazzbaltica, Salzau, Germany
“Orbit” commissioned by the Department Of Cultural Affairs; composed by the Living Legend Jazz Violinist Michael White,prestigious City of Los Angeles Individual Artist Fellow.
The premier is Friday, June 28 at The Grand Performances, SoCal’s largest free public concert presenter. Appearing with his regular band, the Michael White Quintet, consisting of Jazz master musicians .Many of whom have performed with a virtual Who’s Who in Jazz. Michael Howell guitar, Heshima Mark Williams bass, Kenneth Nash percussion and the world best kept secret Jazz vocalist & Qigong/Taiji artist Leisei Chen.
White is celebrating the 40th anniversary of Michael’s classic Impulse recording, The Land Of Spirit And Light.
Sharing the stage and opening up the evening’s activities is the beautiful fellow performing artist, Indian choreographer, dancer, writer and designer, Malathi Iyengar and her dance company premiering her new work Love Trajectory
For more info. Grand Performances : www.grandperformances.org
All Ages Welcomed and its Free!!
This performance is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs
posted by Robert J. Carmack twitter: @blues2jazzguy
The Hipster Sanctuary E-Zine/Blog is focused primarily on UNSUNG artists of Jazz, Blues and Soul Genres. We’ll profile, explore, interview and publicize information to, commemorate, or uplift the legacy of these artists who gave it their all during their time in the public’s eye.
”By Any Medium Necessary”
From time to time, we may have special events recognizing these artists as groups, or individually honoring them. We will also include individuals who contributed to the innovations and quality of the music through Press,Radio and Film. Artists emerging or still performing on a high level will be acknowledged as well.
Robert J. Carmack – Editor in Chief
Robert grew up in Los Angeles (Watts & Compton) and has spent almost five decades in entertainment as musician, actor,producer ,writer and photo/journalist across many genres including Jazz, Soul/R&B and Blues. Co-founded The Paul Robeson Players, Atlanta International Jazz Society, SFBAAAM (San Francisco Bay-Area African American Musicians)worked as publicist/promoter and producer, for live concerts and awards shows. Expert in Jazz & blues history, Robert studied Music,Communications and Theater Arts in college. He holds a Bachelors of Arts Degree from California State University Dominguez Hills and is a passionate patron of Youth in Fine Arts & Education.
We welcome ideas, suggestions,photos, and guest writers to participate as well.
Contact Us: Email email@example.com Twitter:#@blues2jazzguy
Los Angeles,CA._ Blues great Robert Calvin Bland, better known a Bobby “Blue” Bland, a distinguished singer who blended Southern Blues and Raw Soul while recording big hits such as, “Turn on Your Love Light” and “Further On Up the Road,” and “Stormy Monday” died June 23, he was 83. Rod Bland said his father died about 5:30 p.m. Sunday due to complications from an ongoing illness at his Memphis, Tenn., home surrounded by relatives.
Bland was known in some circles as the “Lion of the Blues” and heavily influenced by Nat King Cole, often recording with lavish arrangements to accompany his smooth vocals. He even openly imitated Frank Sinatra on the “Two Steps From the Blues” album cover, standing in front of a building with a coat thrown over his shoulder. This brought about a second moniker of “The Sinatra of the Blues.” “He brought a certain level of class to the blues genre,” said Lawrence “Boo” Mitchell, son of legendary musician and producer Willie Mitchell.
Born in Rosemark, Tenn., he moved to nearby Memphis as a teenager and, as the Hall Of Fame noted, was “second in stature only to B.B. King as a product of Memphis’ Beale Street blues scene.”Bland was a contemporary of B.B. King’s, serving as the blues great’s valet and chauffeur at one point early in his young career.
After a stint in the Army, he recorded with Sam Phillips at Sun Records in the early 1950s with little to show for it. It wasn’t until later that decade Bland began to find success. He scored his first No. 1 on the R&B charts with “Further On Up the Road” in 1957. Then, beginning with “I’ll Take Care of You” in early 1960, Bland released a dozen R&B hits in a row. That string included “Turn On Your Love Light” in 1961. His “I Pity the Fool” in 1961 was recorded by many rock bands, including David Bowie and Eric Clapton, who has made “Further On Up the Road” part of his repertoire.
Being one of the last of the living connections to the roots of the genre,Blues.
Bland was inducted into the Blues Hall of Fame in 1981, the Rock and Roll Hall of Fame in 1992, and received the Grammy Lifetime Achievement Award in 1997.
In the world of Soul,Blues and R&B, young singers can stand on the shoulders of true pioneers, like Bland, who truly paved the way while doing all the heavy lifting. Bobby Blue Bland will be sorely missed with very few left to fill the void left in his absence.
Robert J. Carmack – Editor-in-Chief ** you can follow this writer on twitter:@blues2jazzguy
Jazz Piano Summit: Cedar Walton & Barry Harris
The Allen Room at Jazz at Lincoln Center New York City, N.Y.
Two jazz piano greats, Cedar Walton and Barry Harris, share the stage for what promises to be one great night of music. Best known for his hard bop style, Walton made a name for himself early on performing in Art Blakey’s Jazz Messengers, alongside Wayne Shorter and Freddie Hubbard. He’s also the composer of several jazz standards, such as “Firm Roots, “Bolivia,” “Cedar’s Blues” and “Fantasy in D” (aka “Ugetsu”). Barry Harris’ bebop stylings have been heard jamming with such luminaries as Cannonball Adderley, Coleman Hawkins and Dexter Gordon. Extremely prolific, Harris has recorded 19 albums as a lead artist and has been honored with a Grammy Lifetime Achievement Award. These two piano legends will be joined by Buster Williams on bass and Willie Jones III on drums.
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TWO SHOWS ONLY SATURDAY, JUNE 22 7:30pm & 9:30pm
Drummer says Much of Today’s Music Lacks “Evenness and Identifiable Sound”
By Margaret Summers
Renowned drummer Lenny White built his reputation through his work with Chick Corea’s Return to Forever, and has clearly listened to, been influenced by, and respects classic jazz artists. But his jazz knowledge was thoroughly challenged Thursday, June 6, during a live JazzTimes “Before & After” listening session. The free event was held at The Hamilton music venue and supper club in downtown Washington, D.C. White was in town to play at The Hamilton with Nicholas Payton as part of the D.C. Jazz Festival taking place around the city at various locations June 5 to June 16.
Hosting the session was Willard Jenkins, a D.C.-based independent consultant, writer and producer under his Open Sky Jazz company. He is also a former radio broadcaster with, among other places, national satellite radio network Sirius XM and “jazz and justice” D.C. public radio station WPFW-FM.
With Jenkins and White seated on a stage facing each other, excerpts of jazz compositions were played over the performance space’s speakers. White was to guess the names of the compositions, the artists playing them, and critique what he heard.
Among the compositions was Stevie Wonder’s “Do I Do,” which White defined as “having more of a hip-hop vibe.” White couldn’t identify the instrumental that followed, but he shook his head and chuckled, saying of its style, “(Miles Davis’) ‘Bitches Brew’ messed up a lot of folks!
“This music has a ‘Bitches Brew’ vibe. ‘Bitches Brew’ was released in 1969, but you can still hear its influence, its insolence, in jazz today.” Jenkins said the music came from a not yet completed CD by a cooperative band called Tarbaby, which is recording on Hipnotic Records, a D.C. label.
After the Tarbaby piece, an excerpt of music was played in which the lead saxophonist dominated. “The saxophone is the loudest instrument on this cut,” White commented. “This has to be a sax player’s CD.”
“It’s Joe Lovano and Us 5,” confirmed Jenkins. “It’s from his recent CD “Cross Culture” on Blue Note. “I knew it!” White responded. “It’s nothing against it, just that the sax is so loud.”
“Lovano used two drummers throughout this CD (Otis Brown III and Francisco Mela),” Jenkins noted. “But the sax is so loud you don’t get the sense of two drummers playing on this cut,” White insisted.
“Do you think the producer felt it would be hard to hear the sax with two drummers, and increased the (microphone) volume on the sax?” asked Jenkins. “What sense does that make?” said White. “They were in a recording studio, which is already a controlled environment.
“When I was coming up,” White explained, “the music on jazz records was even. You could hear everyone in the band equally. You could hear Art Blakey. You could hear Wayne Shorter.” One instrument didn’t dominate or drown out the others, he said. “You think of compositions like ‘Kind of Blue,’ ‘Time Out,’ ‘Speak No Evil.’ ”
White listened intently to the next jazz excerpt. “I like it already,” he said, breaking into a smile. “It’s musical, I can hear everybody. I don’t know who this (artist) is, but I liked it.” Jenkins said it was drummer Winard Harper and Jeli Posse, playing “Helen’s Song,” from their recent CD “Coexist” on the Jazz Legacy Productions label.
Although White didn’t know who the next artist was, he correctly identified the composition. “‘Teen Town,’ that’s my favorite Jaco Pastorius tune,” he said. “When he recorded it, he was at a high point of his virtuosity, his performance. What I miss in this version is the rhythm. In the original composition, it (the rhythm) was brilliant.” Jenkins said the version of “Teen Town” was by drummer Matt Wilson and Arts & Crafts, from their most recent CD, “Attitude for Gratitude” on the Palmetto label.
The “Before & After” session concluded with a snippet of a composition by drummer Allison Miller, which White described as “Nice” and “Free flowing.” “Everything you played for me is great. It ran the gamut,” said White. If he had one overall criticism, he said, it’s that “Today’s musicians don’t think in terms of having a specific sound. If I had heard (some of the) artists 15 years ago, it would have been difficult to identify them.”