Patterns: Bobby Hutcherson in 1968


By CARL GLATZEL, Editor An artist whose musical prowess can still be felt in today’s youth-centric jazz scene, Bobby Hutcherson cut his teeth in the service of such legends as Eric Dolphy, Ar…

Source: Patterns: Bobby Hutcherson in 1968

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THE FIRST WATTS FESTIVAL: LOOKING BACK AT AUGUST 1966


I guess it’s always a surprise to find that another year have come and gone, then you realize that it’s not just another year, but a decade has come and left.

Plight Pixs Robert Rasta hat I’m not naive to believe time should stand still for me,but I was just reflecting with a good friend of mine, who also grew up in LA ,just like I did, he on the Eastside and me in the Watts section of Los Angeles in the Nickerson Garden Projects from 1960-1967, then in January of 1967 we moved to a house in Compton near Rosecrans and Rose Ave.

I remember the Summer of 1966 like it was only yesterday. School let out for the summer in mid June. Now what was I going to do , I had no job prospects , but I had my Music. at the time, I was playing in a bunch of different bands to keep me busy.One day I was lying on the grass in my backyard when suddenly a bunch of people I knew came by and said, hey! If you want a summer job you better go up to Central and 113th street, They’re handing out jobs, free lunches and you have to be at least 15 to get paid. Since I was turning 16 in August I qualified. So I went up and got me a job working with little kids teaching arts & crafts, and basically baby-sitting some little wild kids that never had anybody pay any attention to them or teach them about the arts, have “RAP sessions about life and just growing pains of “being black” in 1960s LA..  All of this just One year removed from one of the worst riots in 20 years , over 34 dead, thousands arrested and over $40 million in property damage. So all of a sudden, a lot of money was flowing into WATTS in general, but L.A. period. This man name ,Ted Watkins founded this Jobs training and youth program, along with the UAW and U.S.Labor department

WLCAC summer jobs 1967 Ted W

Also the local politicians needed to find something to counter-balance what had happened just a year before .(1965 Riots)           A cultural committee was established of community people along with clergy and politicians. They came up with a cultural project concept of a Festival that recognized Black people who were doing things in the community.  Entertainers provided an artistic contribution and artists painted Murals on old or burnt building. Watkins had a full grassroots youth labor movement to clean up the city with paint, brooms, saws, pitch forks , everybody bought-in to chip-in and clean up the city.

Bobby 1966 CentennialNOW

Robert Carmack @15 playing alto sax 1965

To revitalize the area, abandoned buildings became training centers for adults with no job skills, college students,high school students had jobs, Vets returning from Viet Nam found work.    By July ,1966 We had heard a rumour of a planned Parade with a big name Grand Marshall and Queen of the Festival. Ultimately, the Festival Committee selected high-profile individual, Sargent Shriver as Marshall and actress Brenda Sykes as 1966 Queen of WATTS Festival.

1966 Grand Marshall

1966 Grand Marshall

Queen of Festival 1966

Queen of Festival 1966

 

 

 

 

 

 

 

I was already excited because we were getting ready to do a show in June at Jefferson High school “Alive and Deprived in 65” was the name of the show that featured Our youth band, saxophonist Curtis Amy quintet with Carmello Garcia on Congo. The great Sam Fletcher vocalist and Gerald Wilson Big Band headlining. That was a really big deal to this 14-year-old saxophonist.

So by the end of July 1966, I had two things going for me,  I was going to be involved with the very first WATTS Festival, just 12 months after the whole town was in flames. The youth jazz band was appointed by Gerald Wilson to “open” for the Sunday afternoon program of Jazz under the Big Tent in Will Rogers park , Yay!! That was exciting. but I also worked for WLCAC as an art instructor, and they had selected some of my work on Patio furniture made out of old Redwood logs and broken pieces. Myself and two other youngsters my age had formed this company called CHB ENTERPRISES, a teen company. Our work was so good it was selected to appear on the WCLAC float in the parade.  We had previously appeared on a local (KTTV) channel, Louis Lomax TV show, mainly because we were denied entrance into the Junior Achievement organization, a national youth business enterprises organization  founded to encourage youth to explore business enterprises. They were racist and we exposed them on TV. One year later we got an offer to join them, but we refused and moved on, with dignity intact.

So with all the excitement of being in the very first Festival almost over-whelming to say the least. Two weeks away from the beginning of the new Festival, another rumour started. The new sensational musician that was making waves in the jazz field and on the radio with his new jazz sound on trumpet.

A South African musician named, Hugh Masakela was revising Herbie Hancock’s Cantaloupe Island hit on record. Radio stations could not stop playing this guy’s music from an album entitled, The Americanization of OOGA-BOOGA. Man! did this guy  really dominate on radio.. more than Miles Davis, more than Coltrane , more than anybody else on radio including rotation on R&B stations too. He was slated to perform a concert to open  up the whole festival on a Friday night at LA Jordan High school.  Tickets sold out so fast, I never got a chance to buy any. Its been a major part of the folkloric legacy of the very first WATTS Festival.

The Hugh Masakela Group consisted of  Masakela on Trumpet/Flugelhorn/vocals, Larry Willis piano, Henry Franklin Bass, Henry Jenkins Drums and Big Black percussion.  Over the years I have either met, or interviewed some of the band members. Most recently over the last two years, I’ve met and befriended Big Black, a tremendous percussionist.  I always admired and respected his playing. he’s still active as a musician. (Shown in the picture below) I ran into him  on a gig with his old friend and former bandmate, Henry Franklin in Riverside, California.They both sounded very strong some 50 years later. I sometimes wish I had a time machine, since I don’t…I just use the 2nd best method, MUSIC. It always bring you back and take you there too. what a lifetime of great memories through music and travel..the window to my soul.

shown: music journalist/producer Robert J. Carmack with drummer Big Black

Robert J. Carmack with drummer Big Black -2016

 

JAZZ LEGENDARY VIBIST BOBBY HUTCHERSON 75 HAS PASSED 1941 – 2016


posted by Robert J. Carmack

Bobby Hutcherson in suit  color pix

 

 

 

 

Bobby Hutcherson:1941-2016 The most accomplished vibraphonist and composer to emerge in the latter half of the 20th Century,has passed at age 75 Monday, August 15th. Bobby Hutcherson is survived by a wife and a bevy of family and close friends all grieving.

Hutcherson redefined the role of the Vibraphone in modern jazz.

A retrospective follow-up piece by music journalist and jazz historian, Robert J. Carmack  coming soon to Hipster Sanctuary.Com .

Bobby hutcherson 2 color in vest

 

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POETRY JAZZ ENSEMBLE PLIGHT DEBUTS AT BILLY HIGGINS WORLD STAGE


Posted by Kamaad Tauhid   #blues2jazzguy

Recently in Los Angeles California, Night of the Grassroots Hip-Nosis featuring PLIGHT Jazz Ensemble took the Billy Higgins World Stage’s audience on a “Time machine” ride back to the Jazz scene 1960s style.” according to one audience member. Plight ,a jazz/poetry band led by jazz journalist and producer Robert J. Carmack  paid homage to Bobby Hutcherson and Jackie McLean music.

Robert J. Carmack Plight Jazz Ensemble

Robert J. Carmack Plight Jazz Ensemble

Carmack and his group performed to a very receptive audience as they plumbed through such classics as  Jackie McLean’s,Riff Raff, Blues in a Jiff, HipNosis and Plight. In addition to McLean’s compositions, they also tackled some of Bobby Hutcherson’s dynamic tunes from his early Blue Note years like, Slow Change, Nights in Barcelona, and Little B’s Poem. Robert Carmack wrote original poems and performed them along with the band in an orchestrated approach to presenting these classic gems with a new spin.

The evening began with special guest, the award-winning playwright and poet, TU’NOOK, who’s highlight piece of her solo set was a poem about women prostitutes that ply their trade on a fairly infamous street in Los Angeles.
Plight, then opened up their first set with a non-playlist song to warm up the room with an uptempo version of Speak Low. After two blustering solos by Dale Fielder and Bobby West on Speak Low, the group tackled the evening’s playlist.

Busting out of the gate with Hutcherson’s recording penned by Harold Land, Night in Barcelona. the cut featured eclectic solos by Dale Fielder on soprano sax and Derf Reklaw on Flute while Bobby West stunned the audience with a piano accompaniment and Synth “Vibes” on electronic keyboards. The versatile band was able to pivot all evening with McLean’s hip and bluesy tunes balanced with Hutcherson’s complex harmonic and melodic treasures. One of the more exploratory tunes of the night was Slow Change a harmonic rich minor piece in 3/4 Sus. Carmack’s intertwining of the original lyrics and the new spoken word content sent the audience over the top. Hipnosis from the album with same title by Jackie McLean. It was presented in a unique ensemble-like statement of melody without a bridge. a haunting bass line with the vamping of the solo parts in a minor blues form that sets-up inside-out improvisations by pianist Bobby West and flautist Derf Reklaw. After his solo on Baritone sax, Fielder joins the bass line on the melody parts. followed by Carmack’s spoken word to take the song home.

PLight Band consisted of Bobby West on piano, Reggie Carson bass, Derf Reklaw percussion & flute, Cornell Fouler drums with special guest saxophonist,Dale Fielder. Robert J. Carmack Poet.

Plight gig-Robert and Dale alto photo by Shead

photo by Mike Shead

Hipster Sanctuary.com is happy and excited that we had great sponsors on our project look forward to their participation in our upcoming Pocket Jazz series in the coming months.

our sponsors:

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SAXOPHONIST DALE FIELDER LAUNCHES NEW DOUBLE CD RESILIENCE!


" Fresh New Material" from Saxophonist Dale Fielder

 

 

 

 

 

 

 

 

 

 

Dale Fielder is a jazz saxophonist, composer and band leader. Fielder is best known for his work as a baritone saxophonist since his 2004 CD, “Baritone Sunride“.  He is devotee of the late great jazz baritone saxophonist Pepper Adams. Fielder was actively involved  in producing and performing at the 1st International Pepper Adams Jazz Festival in Los Angeles in October 2012 where he shared the stage with jazz baritone sax great Gary Smulyan.

The MAN and his GOLDEN HORNS

The MAN and his GOLDEN HORNS

Fielder followed the Pepper Adams celebration by touring with his Tribute Quintet performing his project: “The Music of the Donald Byrd/Pepper Adams Quintet 1958-1961”. Their CD ‘Each Time I Think Of You‘ was released in Oct. 2012. In 2014, Fielder released his 15th CD, “Dream Dancing” – Live at Lincoln Park with guitarist Eric Johnson. Fielder is releasing his 16th CD, “Resilience” August 5th  2016, with his long-time Quartet featuring pianist Jane Getz. The project celebrates the quartet’s 20th Anniversary in 2015.

Come Out and See Dale Fielder Quartet perform from his new CD, RESILIENCE!  with Special Guest Vocalist Rita Edmonds Los Angeles County Museum of Art Wilshire Blvd & Ogden Ave.

Two Sets: 6pm to 8pm for more info: http://www.dalefieldermusic.com

 

 

 

 

 

 

 

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BASSIST JUINI BOOTH QUARTET APPEARING AT SMALLS JAZZ CLUB


Saturday, August 6, 2016   7:30 PM – 8:30 PM only
THE JUINI BOOTH QUARTET
“Buhainia ‘s Delight” – The Music of Freddie Hubbard  

JUINI BOOTH (bass) // JOSH EVANS (trumpet) // BENITO GONZALEZ (piano) // KUSH ABADEY (drums)

 Smalls Jazz Club

183 West 10th Street

New York City, New York

10014 USA     www.smallslive.com

Juini Booth 20014

Juini Booth 20014

 

Arthur “Juini” Booth, bassist/composer, lives and works in New York City. Playing professionally since 16,juini-booth-2 Juini Booth has expanded the range of the contrabass into a refined personal language of intense acoustic awareness and spatiality of sound. Firmly rooted in the forefront of the American jazz tradition, which he has helped to shape, Booth’s music also integrates influences from world music, emerging beyond the boundaries of categories to express the poetics of universal humanness.

His compositions reflect a masterful use of simple melodic themes developed through unexpected harmonies, unusual tonal qualities and time relationships, inviting the listener to a new level of musical perception.

Booth , has performed and toured for over 30 years with jazz musicians from Art Blakey and the Jazz Messengers to Tony Williams “Lifetime” to Coleman Hawkins to Albert Ayler to Chuck Mangione to Sun Ra to McCoy Tyner.

Juini tours extensively in Western and Eastern Europe, performing solo bass concerts in the U.S., Canada and Japan. Some career highlights have been a concert with Randy Weston at the Tangiers Jazz Festival, Morocco; and with Sun Ra Arkestra in Tiblisi,Georgia (USSR) a film of painter Larry Rivers entitled “Round Trip.”

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