Kamaad Tauhid @blues2jazz2003 #PocketJazz
Kamaad Tauhid @blues2jazz2003 #PocketJazz
SPIRITS OF THE UNSUNG: A Homage to Baba Horace Tapscott
By Robert J. Carmack #@blues2jazzguy
One has to keep “YOUR EAR TO THE GROUND” or, listen for the TALKING DRUMS. That will help you to stay on top of who the movers and shakers are in real jazz events of LA.
I’m certainly no stranger to the underground or “Grassroots” happenings of Leimert Park and other venue pockets scattered throughout the city. Japan Town, Highland Park, San Fernando Valley and Long Beach are just the latest cities emerging with new energy.
One of the hottest jazz venues in the city of Los Angeles is The World Stage, an intimate performance gallery for presenting top-shelf jazz, performance poetry and other performing arts and exhibits of some of the finest artisans in the state or world even.
At a recent birthday celebration and Homage to Horace Tapscott held at the World Stage on his birthday (April 6th), I got a chance to briefly speak with a few longtime members of the Pan Afrikan Peoples ARKESTRA.
Bandleader and eldest member in longevity (since 1966) Jesse Sharps-saxes, flutes and miscellaneous woodwinds: Jesse is a L A born musician from Watts who sat-in and listened to the early beginnings of The Pan Afrikan Peoples Arkestra until he earned his stripes and paid his dues as every young musician must do. “Post-1965 Uprising” a great spot was spawned in the heart of Watts called, the Watts Happenin’ Coffeehouse on 103rd street. Raw talent developed, in the jazz jam sessions, poetry and theater arts workshops, creative writer programs. A real bright moment for us young artists who were part of a revolutionary Black Arts Movement beginning in the mid-late 1960s Los Angeles. That venue was followed by “The Gathering” on Western & Vernon Ave. and formation of UGMAA and other branches to ARK.
Many old school players were a big part of the musical clan that gathered at all the community festivals and churches that opened their doors to Tapscott and his Eclectic group of players. Most “Ark” members are bandleaders themselves or, play on an elite basis with the great ones.
Michael and Mekala Session: Father & son musical team; Michael: “We are especially proud of what happens after experiencing the Blackness, Unity and Creative Magic that made up the sound of the “Arkestra” during the early 1974 to present. “The legacy is the community itself and its love and embrace of these musical Griots. “Man..All that sound hitting you , makes you feel like you could do anything creative after that experience”
Mekala Session; drums,percussion, In the beginning for me when I was just a pup growing up, I did not take it seriously, but as I grew and spent my time embracing the magic and spiritualism of the people surrounding me including my dad..I said to myself, What was it Horace might have been thinking when he was in his early 20s and creating all kinds of great music.”
“Today in the Ark , Cats closer to my age, I’m surrounded by “crazy musicians” who are trying to represent the ” Hood” in terms of the high bar that was set long before even my Dad joined the band, or Black Arthur Blythe, Jesse Sharps, Sabir Mateen, Troy Robinson, Adele Sabastian, Nate Morgan, etc.
While he was still in his twenties, Horace Tapscott gave up a successful career in Lionel Hampton’s band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing affordable, community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God’s Musicians and Artists Ascension (UGMAA) Foundation, were at the forefront of the vital community-based arts movements in black Los Angeles. Some three hundred artists—musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists—passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. Based primarily on one hundred in-depth interviews with current and former participants, The Dark Tree is the first history of the important and largely overlooked community arts movement of African American Los Angeles. Brought to life by the passionate voices of the men and women who worked to make the arts integral to everyday community life, this engrossing book completes the account began in the highly acclaimed Central Avenue Sounds, which documented the secular music history of the first half of the twentieth century and which the San Francisco Examiner called “one of the best jazz books ever compiled.”
I can only wonder what it would be like if.. Horace, Billy Higgins were still alive to see whats become of their fruits of their labor in the beginnings.. How many practice sessions by Horace at 4:AM in morning at old World Stage building in the dark, running passages and ideas flowing like a fountain geyser. Billy Higgins doing his task every saturday, whenever he was in town bringing top flight jazz musicians to expose the youth to, Guys that were his peers, like Benny Maupin, Jabali Hart, Eddie Harris, Jackie McLean, Barry Harris, Cedar Walton, Charles Lloyd just to name a few , those workshops were classic and memorable. Part of the reason we still celebrate the greatness of the man, but more importantly we celebrate the legacy of the Community because that’s where Horace was coming from on a spiritual note.
Charlie Parker was born on August 29, 1920, in Kansas City, Kansas. From 1935 to 1939, he played the Missouri nightclub scene with local jazz and blues bands. In 1945 he led his own group while performing with Dizzy Gillespie on the side.
Stanley Turrentine with the Three Sounds – Blue Hour
Music Matters Jazz
In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power. From his 1960 Blue Note debut, Look Out (BLP 4039/BST 84039) through his biggest hit for CTI Records, Sugar (CTI 6005) in 1971, Turrentine’s credentials were second to none as a giant in the genres of Hard-Bop, Modal and Soul-Jazz. The subject of this discussion places the tenor man in the company of Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds for a program of the Blues. Blue Hour (BLP 4057/BST 84057), originally released in 1961 is the second of only two records where The Three Sounds would back a saxophonist. The first LP was 1959’s LD + 3 (BLP 4012/BST 84012) with alto saxophonist Lou Donaldson. My copy used in this report is the 2015 Music Matters 33 1/3 Stereo reissue (MMBST-84057). The 1930 song, I Want a Little Girl written by Murray Mencher and Billy Moll leads off the first side. This infrequently heard ballad opens with an angelic introduction by the trio, exhibiting Harris’ attentiveness to the lyric and melody. Stanley joins in for the theme with a quiet sincerity in his approach, then delivers a graceful performance which captures the essence of this standard on the initial solo. Harris’ interlude is brief, but lovely and the closing by the quartet is especially beautiful.
Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf. The song became a jazz standard in 1943 after Nat King Cole recorded it with his trio. The Three Sounds provide a nostalgic mood with a pensive introduction, allowing Stanley to deliver the melancholy melody with feeling. Turrentine starts the solos tastefully, enhancing each verse with subtle lyricism which reaches a peak of sensitivity at its conclusion. Harris instills the closing presentation of this standard with new life on an interpretation of intimate warmth which is a work of beauty. The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the opening chorus which moves with a finger-popping, toe-tapping groove. The Sounds’ introduction sets the mood for Stanley to create some jubilant phrases on the opening statement with a vivacious spontaneity which builds to a successful summation. Gene takes the next turn for a cheerful presentation of joyful swinging with a youthful spirit which is also delightful. Stanley returns for a few final verses of soulful riffs, prior to Gene leading the trio into a fadeout.
The 1945 jazz and pop standard, Since I Fell For You by Buddy Johnson opens the second side. Johnson wrote both the music and words of this very beautiful ballad, and first introduced that year it with his sister Ella on vocals. This evergreen is one of the most recorded songs in jazz and pop and has been performed by many of the greatest musicians and vocalists in both genres. The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if the song was written for this album exclusively. The trio segues into a soothing opening melody by Turrentine who solos twice, delivering tasteful and tranquil restraint on the first interpretation and closing chorus. Harris contributes a luscious reading which is lovingly stated with tenderness. Simpkins and Dowdy’s accompaniment is richly satisfying behind Gene as he performs each voluptuous verse. One of my favorite standards, Willow Weep For Me, written by Ann Ronell in 1932 opens with the exquisitely mellow tone of Stanley’s tenor sax leading the quartet through the main theme for one of his definitive ballad performances on the LP. Gene’s opening statement is a gorgeous, mid-tempo reading which compliments his colleague’s exceptional groundwork into an alluring culmination. Stanley’s closing performance starts at a poignant pace with a firm introspective tone, followed by a graceful swing which takes the tune down smoothly into a luscious finale.
Pianist Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy. The group became a hit with the public and by the time Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone, which is why I believe Alfred Lion didn’t release the additional eight songs available on the 2000 two CD – album after this record hit the stores. The Three Sounds’ would be together until 1970, when Harris would leave to embark on a successful solo career. Stanley Turrentine was a veteran tenor saxophonist of the Soul-Jazz style since the fifties and he would record a total of seventeen LP’s for the label as a leader, plus several as a sideman including guitarist Kenny Burrell on Midnight Blue (BLP 4123/BST 84123); pianist Horace Parlan (1931-2017) on Spur of The Moment (BLP 4074/BST 84074). Three with organist Shirley Scott (1934-2002) who he was married to at the time, Never Let Me Go (BLP 4129/BST 84129); A Chip Off The Old Block (BLP 4150/BST 84150) and Common Touch (BST 84135). One with pianist Horace Silver (1928-2014), Serenade To a Soul Sister (BLP 4277/BST 84277) and three with organist Jimmy Smith (1928-2005), Midnight Special (BLP 4078/BST 84078); Back at The Chicken Shack (BLP 4117/BST 84117) and Prayer Meetin’ (BLP 4164/BST 84164).
In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find to find him (or her) there. The sound on this LP is stunning, the remastering of Rudy Van Gelder’s original tapes by Record Technology Incorporated is also superb and the gatefold photos of each musician during the session compliments the music marvelously. What I’ve found the album to be is nearly thirty-eight minutes of blissful jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazzy library and is an LP you can enjoy at any time of the day, the evening or the early morning during the Blue Hour.
I Want a Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.com
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Special discounted price Save up to $7.25 off Online price including fees
Contact Robert regarding Direct sales Must pay Cash or money Order for 5 or more tickets @ $20 per ticket
Starting Limited period May 29th ENDS June 10th ONLY $20 per ticket when you buy (5)FIVE or more from one of our reps.
951-840-7120 for general info or closest rep to you.
Street Life: Magic & the Music of Jazz Crusaders
a Musical and Poetic Tribute
featuring The Crusader Legacy 5 Plus Band
Robert J. Carmack Poet, Teodross Avery Saxophones, Alvin Starks Trombone, Don Littleton Drums,Theo Saunders-Piano,Mike Alvidrez Bass
JUNE 22nd Friday Night – 9PM World Stage Performance Gallery 4321 Degnan Blvd. LA , Calif. 90008 $25 at http://www.eventbrite.com
“Celebrating 20 years of Jazz Advocacy Through Whatever Medium Necessary”
STREET LIFE: MAGIC & MUSIC OF JAZZ CRUSADERS
Musical and Poetic Tribute
JUNE 22 9PM World Stage Performance Gallery
4321 Degnan Blvd. Los Angeles, California 90008
Exclusive Online tickets only at www.eventbrite.com $25
CRUSADER LEGACY 5 Plus Band
Teodross Avery tenor sax, Alvin Starks trombone, Mike Alvidrez~bass
Theo Saunders~ piano, Don Littleton ~ drums
Plus poet/spoken word ~ Robert J. Carmack
Produced by Robert J. Carmack & select Crusaders transcriptions by http://www.JamesArmstrongMusic.com
Come Out and Help us pay homage to the dynamic and game-changing group
Media: @blues2jazzguy ~ firstname.lastname@example.org ~951-840-7120
Producer Robert J. Carmack has created a show paying homage to music’s most celebrated jazz group over the last 5 decades. Carmack hand-picked Los Angeles “best of the best” local jazz musicians , all of whom are stellar musicians in their own right. Plus, Carmack will be adding his poems dedicated to the group, along with a special poem dedicated to the Saxman , Wilton Felder. Crusader Legacy 5 Plus are Teodross Avery tenor saxophone, Alvin Starks trombone, Don Littleton drums, Theo Saunders piano/keyboards, Mike Alvidrez bass/elect. bass and Robert J. Carmack spoken word/poet and a special surprise guest. The evening will be filled with the essential Jazz Crusaders compositions that made them into the iconic and award-winning group they were. one survivor left of band, Nesbert “Stix” Hooper.
posted by Kamaad Tauhid
Robert J. Carmack – KARL LEE the reporter from Ebony Magazine. Robert is a veteran of the theater, producer, writer, poet and musician. Mr. Carmack has over 5 decades in the entertainment field as musician, show producer, promoter or journalist in the genres of Jazz,classic soul, and pop.
Mr. Carmack has worked for, or, with such jazz luminaries as Freddie Hubbard, Doug Carn, Andy Bey, Sonny Fortune, Freddie Cole, Vanessa Rubin and McCoy Tyner. He founded and co-founded the Atlanta International Jazz Society, and SFBAAAM( San Francisco Bay Area African-American Musicians) a forum of musicians that created their own venues to play in the Bay area. Returning back to Los Angeles after 12 years , Mr. Carmack has organized a Charlie Parker 21 sax salute on Bird’s birthday nationwide salute east & west coast. a tribute to Blue note producer & composer Duke Pearson ,Bobby Hutcherson/Jackie McLean in Los Angeles. Last year He re-created his popular character from The Club Alabam in 2014,(ROBBY ROYALE) to a sell out audience of NAACP Award winning musical, North On South Central Avenue. Carmack grew up in Los Angeles, attended Centennial high school in Compton, Graduated B.A – Theater Arts /Communications at Cal State Dominguez Hills. returning later on in life to grab his MFA-Theater Directing/Production Columbia University,New York. Robert co-founded the awarding-winning Paul Robeson Players while still attending under-grad college classes. The drama group went on to represent the state of California at the FESTAC, World Arts Festival, Lagos, Nigeria.
I wrote “Interview” out of frustration with the film version that came out a few years ago. However, I looked at the presentation, not as a traditional play or musical , More of an avant-garde /experimental theater type with music, spoken word and dramatic dialog. No set changes, or curtains . its driven by the power of the actors on stage, Nina Simone’s great social protest songs and her important role in the civil rights era. The most unsung of all the characters who played a role during that period.
We begin the story in real-time August 11,1965 inside the lounge of a Pasadena Hotel…
Jana Wilson- NINA SIMONE, a Los Angeles native, began her thespian adventures on the runways of Los Angeles, donning designer couture fashions. She modeled through college and sporadically, thereafter. Music has always been in her soul, as both parents were talented musicians, in their own right. Her brother plays bass guitar. Her father played jazz piano and her mother continues singing jazz. It’s only likely that Jana would have a love for music, with such rich influences.
Jana began singing in her church choir, then, sitting in on secular band rehearsals, which led to one song, then years of performing three nights weekly, as the featured vocalist, in the 4 Star Award winning Supper Club,The Sky Room in Long Beach CA . Since then, she’s been professionally performing with various local jazz and R&B groups. Her performance interests led to the theater, where she was cast as Billie Holiday, and additional characters, in the award-winning musical stage play, “North On South Central Avenue.”
“Music, performance arts, television… there are so many interests, gifts and abilities to put to good use. The world is a big stage, and I hope to take a few bows, while I’m here!” – Jana
Bobby Pierce, Music Director/Pianist – the former Columbus, Ohio born musician, now a Los Angeles resident is a musician’s musician. Known for his laid-back demeanor and style in personality. He elects to allow his fingers to do his speaking for him. He spent many years in Chicago and New York, working with virtually a Who’s Who in Jazz and Gospel.
Bobby has graced the stage with some of Jazz’s royal members such as Benny Carter, James Moody, Clark Terry, Frank Foster, Etta James, and Della Reese along with POP & Soul stars too. Four Tops, Walter Jackson, Dionne Warwick, Joe Williams and Esther Phillips just to name a few. While putting in work at Record labels, Muse and Cobblestone, He was able to garner a Five-star ranking on Downbeat magazine. Pierce is also listed in seven jazz history books including Leonard Feather’s Encyclopedia of jazz and Listen for Jazz by Anna Bishop.
Bobby is quite proud of his major work with the late Della Reese , where he co-wrote the musical, “The Message is In the Music.”
While the consummate classically trained , Jazz and gospel singer, arranger and composer, Bobby still finds time to go out on a few road gigs, and hitting a few local jazz gigs too. He spends most of his time working with choir groups and just being of community service whenever possible.
Derf Reklaw – Flute,Percussion, has a very positive reputation around the music industry and especially the Leimert Park Village. Derf has worked with this play’s author three times previously over last 4 years. “Derf is the type of musician you don’t have to say much, just let him do what he do” stated Robert J. Carmack Director/Producer. Now we know why Eddie Harris & Ramsey Lewis loved his playing on their group’s recordings and live.
Reklaw moved to LA from Chicago in 1979. He is an artist in residence at several educational institutions including UCLA, Santa Monica College, L.A. Conservatory and View Park Academy. His career has enabled him to play with artists like Herbie Hancock, Aretha Franklin, Eddie Harris, Minnie Ripperton, Ahmad Jamal, Sting and Lionel Hampton. Also featured guest spots with drummer Billy Higgins, poet Kamau Daaood and original member of the Pharoahs, Lui Lui Satterfield.
Bob Lee Bassist, Music Producer,Composer, photographer, videos,etc.
bio material not available at press time
Interview with the High Priestess has been sold out for 4 WEEKS.
those with tickets will be watching and listening at the World Stage 4321 Degnan Blvd. L.A., California. 90008 8PM
Doors open at 7PM
Media:RJC Mediatainment Group/Hipster Sanctuary.Com