Month: January 2018

COMING JAZZ APPRECIATION MONTH APRIL: TRIBUTE TO JAZZ CRUSADERS BAND & LEGACY


COMING TO LOS ANGELES ONLY

JAZZ APPRECIATION MONTH APRIL 2018

 a Robert J. Carmack Production

Robert J. Carmack

Details February during Black History month, follow-up on www.hipstersanctuary.com as we celebrate our 20th year in March 2018.  April Live Jazz concert and special awards presentation to surprise guests, also follow-up @blues2jazzguy.

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JAZZ MASTER BASSIST JUINI BOOTH RETURNS TO ZEBULON CAFE FEB 21 2018


 

The Booth / Kim Eclectic Nativity – a Free Music creative force featuring master bassist Juini Booth and violinist Kathleen Kim.

JUST ADDED: Robert J. Carmack – Echoes of SUN RA Poetry

R.J. Carmack

Juini Booth and friends w/ supporting performances by Guillermo E. Brown (solo) and L.A. Fog. and DJ  Xandão bringing the Brazilian funk.

L.A. Fog

On this special celebration of Juini Booth’s 70th birthday, friends of both coasts converge for an improvisational performance of cosmic proportions. Reflecting the influence of Juini Booth’s dynamic musicianship, participating artists draw from shared inspirations from Improv, Soul, R&B, Funk, Psych, and World Music and Spoken Word. Eclectic Nativity includes Guillermo E. Brown, Wynne Bennett, Corey Fogel, LA Fog, Jon Leland, Mira Billotte, Helga Fassonaki and more.

Opening performances by Guillermo E.Brown(solo)and L.A. Fog.

Jocelyn Soubiran

 

Feb. 21 Wed. 8pm @ Zebulon Café Concert 2478 Fletcher Dr, Los Angeles, California 90039

http://zebulon.la/

SOUTH AFRICAN MUSICIAN HUGH MASAKELA JOINS THE ANCESTORS-RIP 1939-2018


posted by Robert J. Carmack

It seems that a bevy of greats have left the stage and building since January of 2017. I realize that’s just life as we know it. Nothing to say about it case closed. However, I did not want to allow the sudden death of a great man and musician go by without saying anything about it. First, my exposure to Hugh Masakela goes back beyond 50 years(1966). I lived in Los Angeles and was studying music in high school and two off campus jazz bands  too. Soon summer 1966 arrived and I was quite anxious because, word had it, the very first WATTS FESTIVAL was coming to reality.  Heavy announcements of Music, Art and Pageantry to replace all the violence and melee that happened only one year prior.

The opening act was this new guy we had been hearing about from Africa that was making a lot of noise in New York.

Hugh Masakela was the Kick-off concert at Jordan High school gym that launched the 1966 Watts Festival & Cultural events. I can remember like yesterday as me and a group of guys who loved jazz, was quite excited about the possibilities and the fact it would be my first time seeing anyone from Africa that was not a cliché of Hollywood racists attitudes about portraying ,anyone from the motherland. That night was very special in more ways than the obvious. I was 16 and thought I was a grown man…the other was coming from a sociopolitical viewpoint. Black people were making a transition from being negro or colored people to Black people or Afro-American (first popped up as a description of black people at this time). Anyway, back to the music, Hugh was every bit an image and role model for us young men. he had a very interesting hair-style  or “Natural”, wore full African regalia, including “NO Shoes” as he went through the recently released album cuts of 1966 “The Americanization of Ooga-Booga.” Which I know now, was a title given and sanctioned by the marketing department at the record company. I assure you, mine and most of us were concentrating on the musical style of his trumpet playing and the rhythms being crafted by the unit led by Hugh. Larry Willis on piano, Henry Jenkins on Drums, Henry Franklin on Bass and Percussionist Big Black pounding out the beats on African drums and Congas.

Hugh was a master of blending the American style of jazz bop and blues idioms juxtaposition with African Rhythms. The eclectic mix of originals showcased his masterful composing skills . He introduced a whole generation of black folks and others to “South-Africanized” jazz. which was quite different in what we had heard by Dizzy Gillespie, Art Blakeley or Randy Weston and their  interpretations. He was bringing it “Straight with No Chaser”.

Some of the highlights of the evening’s performances was a composition by Herbie Hancock, Cantaloupe Island. Two other originals jumped out at the crowd which spawn several standing ovations when they ended.. Hale Se Di Li  Kanna(the Dowry song) and Bajabula Bonke (the Healing Song).

The influence of Dizzy Gillespie and Freddie Hubbard can be heard, along with McCoy Tyner in the playing of pianist Larry Willis, and he shows his debt to John Coltrane as an inspiration on “Mixolydia” as well as his affinity for Brazilian music on “Mas Que Nada.” But the core sound was what Masekela called “township bop” — his short trumpet bursts, sometimes seemingly approaching micro-tonal territory, are engrossing celebrations of the melodies of his repertory, which is mostly of South African origin. The buzz after the concert was so loud  and the cultural wave became a Tsunami of positive vibes for brother Hugh as he was affectionately called after that night.

 

 

 

 

By the fall ,I was still hearing rumblings about that summer concert.. only to find out that the very same group was scheduled to perform at our school sometime before the Christmas break. Man! what a blessing! Twice in less than two months. By the time they appeared  at our school, most of us was sporting Naturals and wearing sandals, some even wore  traditional Dashiki garb and begun learning more about the continent of Africa, particularly, South Africa. I became a life long Hugh Fan, even as he became more and more commercial in his albums, he always brought it back home with a solid menu of fan favorites like Bajabula Bonke, and Cantaloupe Island at the Live concerts.

I will always believe to my dying breath, he believed he was put here to bring joy from the motherland and  shine a light on freedom and respect for every one. His Nelson Mandela anthem (Bring him back Home) was globally huge and played a strong role in keeping the fire to the feet of the world powers. I know I will miss him and his musical spirit, but the whole world will miss his humanity. Rest in Heavenly Peace Brother Hugh!

MARK de CLIVE-LOWE STRIKES THE RIGHT CHORD


posted by Robert J. Carmack

 

 

 

 

 

 

 

 

 

 

 

 

Sometimes you gamble on checking-out Friday night jazz in Los Angeles and get Buptkus and, then sometimes  you bump into a real gem! Friday night was just such a find. I ventured into Downtown Los Angeles’s “Neuvo Urban” Jazz spot, The Blue Whale , I was quite surprised and pleased that among the musicians I was not familiar with, were two veteran Jazz artists in saxophonist Teodross Avery  and vocalist Dwight Trible. Both are well known within the jazz community and beyond.

 

 

 

 

I found Friday evening’s selections is sublime order. some of the highlights of the night for me were Colors, Hum Allah, The Creator Has a Master Plan, , Love is Everywhere, just to name a few. I particularly were impressed with the prowess of Teodross Avery, who brought in his own flavor and approach to Pharoah Sanders. It’s all too easy to just come in and focus on playing “note for note”  or cliché licks by the great tenor player, but Avery was not having it. It was like watching a great painter paint from a stark canvas, only offering the obvious when necessary. Thembi went over big and Astral Traveling brought the crowd to their feet ,spurred by Mark’s Ensemble of stellar musicians. The vocalized  lyrics and non-lyrics by Dwight Trible were beyond words because I can’t quite say. Church comes to mind… But, If you never heard him before, You are definitely hooked now.Dwight took a word like “Freedom,” he wanting Freedom Now.  It reminded me of when I was checking out the great Sonny Rollins, who swung violently on One note for 15 minutes. Not comparing him to Sonny Rollins, but my point is obviously “On Point!”

Mark de Clive-Lowe is a brilliant pianist, composer, producer and creative genius when blending the jazz classics with the neuvo soundscapes of today’s jazz artists & turntablist . His mastery use of electronica and acoustics went through your soul and back out your heart as you listened deeper. He did a delicate balancing act of bringing the best of Pharaoh’s music, but definitely stamped with his signature. All of this added up to me staying both sets and following up with the leader afterwards for some closing comments. If you are lucky enough to have tickets already to the sold out Saturday night’s performances then, Dilly-Dilly!! If Not Sorry! Anytime you hear this young man’s name in your town, Run to the ticket box and grab a few, You will want to share this experience with a friend or two.

 

For this very special two- night engagement at downtown LA’s Blue Whale jazz club, Mark de Clive-Lowe pays homage to and celebrates the music of the great living legend Pharoah Sanders.

One of the defining voices of 20th Century jazz and improvised music, Pharoah came to prominence in the band of John Coltrane, and after Coltrane’s death went on to establish himself as a carrier of the torch and musical leader of minds and spirits. His Impulse Records catalog alone defines him as one of the most important voices in jazz, exploring the breadth of spiritual jazz and raw improvisation.

For these two nights,Mark de Clive-Lowe  explores Pharoah’s music joined by Teodross Avery (sax), Dwight Trible (vocals), Carlos Niño (percussion), Corbin Jones (bass/sousaphone) and direct from Italy, Tommaso Cappellato, plus Carlos Niño also spins DJ sets before and in-between sets!

follow Mark at this link:http://www.mdcl.tv/

What they say about Mark de Clive-Lowe….

“an underground phenom…” – Okay Player

“a timely reminder that some of the greatest producers,in line with the likes of Quincy and Stepney,are also musicians with chops as well as smart adventurers in sound.”

Echoes (UK)   Tonight’s Show kicks off at 9pm/doors open at 8PM http://www.bluewhalemusic.com/

 

 

COMING FEBRUARY 1 2018 MEET THE CAST FROM INTERVIEW WITH THE HIGH PRIESTESS:NINA!


JANA WILSON / NINA SIMONE

Actress/Singer/Model

 

 

 

 

 

 

 

 

 

 

 

 

Robert J. Carmack – Actor/Writer/Producer/Musician/Poet

 

 

 

 

 

 

Interview With the High Priestess:Nina!

Mar. 3rd 2018 @ World Stage Performance Gallery

4321 Degnan Blvd. LA California, 90008

Ticket sold Exclusively Online only@ http://www.eventbrite.com

general information or media 951-840-7120

blues2jazz2003@yahoo.com / @blues2jazzguy