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
Pianist Gene Harris – Source: www.musicmattersjazz.com
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CALL 951-840-7120 or email blues2jazz2003@yahoo.com Regular price is $25 online at http://www.Eventbrite.com
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Starting Limited period May 29th ENDS June 10th ONLY $20 per ticket when you buy (5)FIVE or more from one of our reps.
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Hipster Sanctuary.Com
presents
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
Hipster Sanctuary.Com
“Celebrating 20 years of Jazz Advocacy Through Whatever Medium Necessary”
Presents
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
Featuring
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 ~ blues2jazz2003@yahoo.com ~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…
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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.
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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.
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Bob Lee Bassist, Music Producer,Composer, photographer, videos,etc.
bio material not available at press time
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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
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Media:RJC Mediatainment Group/Hipster Sanctuary.Com
Posted by Kamaad Tauhid #@blues2jazzguy
It was announced early today by actor,journalist and playwright, Robert J. Carmack, he’s been tapped to recite highly-tauted select poems of iconic jazz legend, SUN RA. ” I’m going to love this gig, as I’m appearing on stage with some of the best musicians in “Free Music” on both coasts. East & West. Carmack is poised and ready to take on the task of blending great works by one of his jazz heroes with the colors and sounds of improvisations. All in the spirit of the inter-planetary one, SUN RA.
Fresh from writing his new hit play about Nina Simone, “Interview With the High Priestess: Nina!” It will be debuting in Los Angeles at the World Stage, founded by Jazz legend , Billy Higgins. Scheduled for March 3rd,the One Night Only performance is Sold Out. Carmack appears in the play starring Jana Wilson as Nina.
Master bassist Juini Booth and Violinist Kathleen Kim are gracing the stage at Zebulon Cafe in Los Angeles with a plethora of unique and eclectic musicians. 
Juini Booth and friends with supporting performances by Guillermo E. Brown and L.A. Fog. and DJ Xandão bringing the Brazilian funk.
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 Improvisations, soul, R&B, Funk,World Music and Spoken Word.
FEBRUARY 21, 9PM -1AM @ ZEBULON CAFE Great Music Great Drinks and great Food too… come early & stay late!
Eclectic Nativity includes Guillermo E. Brown, Wynne Bennett, Corey Fogel, LA Fog, Jon Leland, Mira Billotte, Helga Fassonaki and more. Opening performance by Guillermo E. Brown (solo)and L.A. Fog. plus surprise guests appearing.
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! 
