JAZZ CRUSADERS FOUNDER NESBERT “STIX” HOOPER MAKES RARE L.A. CONCERT APPEARANCE


@blues2jazzguy ~stage photos-Robert Hill

Nov.17_Friday night in L.A, a intimate crowd of super fans gathered at The Jerry Moss Theater. Mainly to catch a rare glimpse of the last surviving member of The Jazz Crusaders.

You know..That powerful ensemble that played muscular, bluesy variations of bebop known as hard bop. Their roots coming out of Houston,Texas. Nesbert or Stix, as he is affectionately called, formed a core group in high school, along with pianist Joe Sample, tenor saxophonist Wilton Felder while performing together as the Swingsters in high school. Joe Sample met the trombonist Wayne Henderson at Texas Southern University and also joined by bassist Henry Wilson and woodwinds specialist(flutes/saxes) Hubert Laws. Laws went on to achieve notoriety on his own as a master flautist and bandleader. But during this period, they had changed its name to the Modern Jazz Sextet.

Stix and the band worked the Houston area for several years but did not have much major success until Mr. Sample, Mr. Felder, Mr. Hooper and Mr. Henderson moved to Los Angeles and changed their name to The Jazz Crusaders, a reference to the drummer Art Blakey’s seminal hard-bop ensemble, The Jazz Messengers. Their first album, “Freedom Sound,” released on the Pacific Jazz label in 1961, sold well, and they recorded prolifically for the rest of the decade, with all four members contributing compositions, while performing to enthusiastic global audiences and critical praise.

The Jazz Crusaders went on to become one of the most highly acclaimed jazz group in the history of music. The roots of The Jazz Crusaders touched its branches everywhere.. including pop, rock and soul. many collaborations such as Joe Sample with Bobby Hutcherson, or Lela Hathaway, or Wilton Felder with Letta Mbulu or soul-belter Bobby Womack, Wayne Henderson producing and writing for acts in all types of music. Stix was no stranger either, though not active with group much, He still penned hits for blues, pop and soul artists for last 3 decades.

This intimate concert in L.A.Westside’s Moss Theater was superb. we were treated to a cornucopia of musical treats from all points of the globe.. the only thing was, Stix refused to use the microphone, so we were not privy who all those wonderful musicians were. But they were very good . two guitarists, for starters.. one from an eastern European country, and the other  from South America . The acoustic pianist, Russian, while the electric keyboardist hailed from new Zealand.

The bass player was a “homie” from L.A., He even acknowledged a legendary drummer in attendance, Ndugu Chancler, as he looked on approvingly of the action on stage.

The trumpet and saxophonist were very good soloists. Sorry, the opportunity to identify band members did not happen as I anticipated. But I really enjoyed the show. so it was a win-win in my opinion. I will work harder next time to gather more information, since no one acted as spokesperson after concert.

We were whisked out of room , as the band had a meet-n-greet” and signing commitment backstage after the show.

I recommend you follow Stix Hooper via Facebook or his website, http://www.stixhooper.com

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MUST SEE JAZZ EVENT~ AZAR LAWRENCE EXPERIENCE HOTTEST TICKET IN L.A.!!


“ZAR” is celebrating his release on Concord Records, ”Bridge into the New Age” Sunday November 12 8pm-10pm Only!  Zebulon Café Concert in Los Angeles ~ 2478 Fletcher Drive L.A. 90039. Buy tickets:$25  https://www.ticketfly.com/event/1582784-azar-lawrence-experience-los-angeles/    

Saxophones ~ Leader – Azar Lawrence

Special Guest vocalist – Windy Barnes-Farrell

Bass-Henry Franklin

Trumpet-Michael Hunter

Roy McCurdy – Drums

Munyungo Jackson-Percussion

Theo Saunders-Piano

 

 

MOVING WEST ~AZAR LAWRENCE EXPERIENCE 2017


 Saxophonist Azar Lawrence makes his way back to the Zebulon Café Sunday night Nov.12 at 8pm.with him are some of Jazz’s most holistic and stellar musicians and vocalist. 

The Azar Lawrence Experience featuring Theo Saunders piano, Henry Franklin bass, Munyungo Jackson Percussion & Roy McCurdy drums..Special guest vocalist Ms. Windy Barnes-Farrell.

“ZAR” is celebrating his release on Concord Records, Bridge into the New Age. Zebulon Café Concert in Los Angeles. 2478 Fletcher Drive L.A. 90039.  Buy tickets:$25  https://www.ticketfly.com/event/1582784-azar-lawrence-experience-los-angeles/

 

BLACK CULTURAL EVENTS.COM:YOUR GATEWAY TO WHAT’S HAPPENING IN LOS ANGELES


 

 

 

 

“BLACK CULTURAL EVENTS IS YOUR GATEWAY TO RICH CULTURAL LIFE OF BLACK GREATER LOS ANGELES. THE ONLINE CALENDAR AND DIRECTORY OF WHAT’S HAPPENING AND WHERE TO GO, THAT WILL KEEP YOU IN THE KNOW.”

http://www.blackculturalevents.com   info@blackculturalevents.com

About Black Cultural Events

Black Cultural Events is your gateway to the rich cultural life of Black Southern California. There’s a lot going on in this wonderful metropolis of ours. We know the experience of trying to keep up with it all, or of hearing too late about some event you really would have liked to experience. So we’re getting it all for you – right here in one place. We also have listings of restaurants, cultural institutions, art centers and landmarks. We are updating frequently with new opportunities to experience and explore, so please – visit us often and share with friends. ~

The Black Cultural Events Team Leaders

Pamela Ashe-Thomas is co-founder of Black Cultural Events and BCE Media. A psychologist in private practice and at California State University, Long Beach, Pamela is a life long Black culture lover with a commitment to exposing students and community members to the cultural arts.

David Ashe is co-founder of Black Cultural Events and BCE Media. Prior to Black Cultural Events David was embedded via the 10 Up Agency at Microsoft working with the worldwide corporate storytelling division. He has managed web and digital projects for DirecTV, Toyota, Oprah Winfrey Network, FX Networks, Sony Pictures Digital Entertainment.

Eric Thomas is a General Partner and Chief Operating Officer for BCE Media. As an itinerant theatre arts instructor for the Arts Education Brand of the Los Angeles Unified School District, the veteran music, broadcast and interactive media production executive brings a wealth of experience to the mission of Black Cultural Events.com.

 

 

 

PIANO LEGEND HAZEL SCOTT LEGACY CONTINUES THROUGH NEW CHILDREN BOOK SERIES


posted by Robert J. Carmack #blues2jazzguy

 

 

 

 

 

 

 

 

World Debut of Hazel Scott inspired Children Book Series and Television show coming soon to a channel and book shelf .

It was announced by a media spokesman for the LONDON5 STUDIOS. Creation and Books authored by Melanie Greene.

Little Melanie Children’s book series is a development and creation of London 5 Studios, headed up by Melanie Greene and her brilliant team of artists, writers and musical geniuses. the very first book, My Grand Piano is solely based on a little girl’s dream to become as great as the Jazz legend Hazel Scott on piano. Even insisting on exclusively playing only a Steinway piano, which was the signature choice by the great Hazel Scott. Little Melanie also has a positive quality about her that’s simply unmatched in children’s programming today. the series is muscular 150+ books, followed by London-based TV show that reflects a very diverse cast of characters, and special guests to be added later on as the Little Melanie unfolds into a its’ full potential.  This writer will be keeping you informed about the latest developments involving this grand presentation and innovative series/TV show. follow it also at twitter  #@blues2jazzguy…www.hipstersanctuary.com.

PROFOUND SIMPLICITY: A GLIMPSE OF DWIGHT TRIBLE


posted by  #@blues2 jazz guy

“Profound Simplicity”- A Glimpse of Dwight Trible” by Kristina McBride

I’ve been spinning quite a bit of music lately, listening to the inner urge of Joe Henderson’s tenor sax, Lee Morgan’s blistering trumpet solo telling it like it is, Black Arthur breaking down Lenox Ave on my new Rega RP3 with a fantastic vintage Scott 382-B amplifier and speaker combination. The music and sound combination that comes at me is sensational, bringing me closer to the music more than ever. I’ve begun to listen to and feel music more deeply over time. Through music I travel freely through time and space, exploring my inner-most emotions and dreams. In the spellbinding voice of Dwight Trible, I embark on a musical voyage, exploring new depths of musical consciousness.

He is a vocalist-songwriter, poet and musical healer. That he is so shamefully under-acknowledged in the music world is especially contemptible considering how badly the world needs his music. He successfully fuses jazz, blues, and gospel while also being known to reference opera and Gregorian chants during his presentation. He’s collaborated with contemporaries such as J-Dilla, Kamasi Washington, and John Beasley.  I stumbled upon his music on a balmy Florida afternoon while I listened to WPFW in Washington, D.C. I heard Trible’s sonorous voice laced on top of the lush, romantic piano, string and percussion ensemble of Quasimode as he sang “Midnight Flower”.  I was captivated straight away, my body becoming warm and I became aware of the sensual arousal I felt as I listened. His voice beckoned me, touching my soul with the immediate force evoked by the supernatural allure of his voice.

Trible is a full-bodied baritone that can ascend to a soul-stirring falsetto that is unwavering at any tempo or volume. His profound connection to music is present in each song he approaches. Trible’s masterful interpretation of Andy Bey’s “Celestial Blues” is the epitome of spiritual jazz singing, where he showcases his masterful, soul-stirring vibrato and vocal range. Trible’s singing is evocative of vibrant colors and textures, of romance, peace, and happiness. It has healing power, a unifier, a beacon of hope and light.       

 

 

 

 

Trible grew up in Cincinnati, Ohio with three siblings and both his parents. He began singing as a young child, inspired by his mother. “I remember sitting on the couch when she cleaned up, and I couldn’t have been more than two or three years-old. But I would just sit there and listen to my mother sing, mesmerized, almost in a trance. So, I guess she was probably my first inspiration for singing. Judging from my personality and my makeup perhaps I really didn’t have a choice in the matter, because when I look back on what else I could have done had I not been involved in that…for the most part I cannot think of anything else that it would be,” he remembered.

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“From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And you be the most Dwight Trible you can be. And that’s all it is.”

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when I asked him how he began singing, and what he aspired to be when he grew up.  His mother would send them to the local theater after church every Sunday, and to keep from growing bored while watching the film, he began improvising to the music.

“I wonder what your siblings thought of you doing that,” I asked him, laughing as I imagined him with his then short legs dangling from the chair as he crooned to the music.

“Oh, they would be so angry with me. I remember once, my brother coming home and telling my mother, ‘Dwight was in-there singing again! He was in-there singing again!’” he recalled with a boisterous laugh. “’Cause God knows how loud I was singing. I guess I did it so much and it probably used to get on their nerves, but it was my nature to do it.” Surely these early singing experiments brought him a long way to becoming a master of his craft.

Trible was saturated with music throughout his childhood, drawing inspiration from Mahalia Jackson, Aretha Franklin, Donny Hathaway, and Linda Jones, who had the 1967 hit “Hypnotized, tune that had a major influence on his singing style.  “I was a Linda Jones freak! She was somebody that really resonated with me, and I would say that I was influenced by her more than anyone else, “ he remembered. He later sang with local R & B and gospel groups before outgrowing the Cincinnati music scene. He deeply felt he had to go abroad in order to grow as an artist, and was encouraged by his peers and fellow musicians.

He set his sights on Los Angeles, California, arriving at an extremely fertile time, and was quickly ushered into the L.A. music community by the late legends pianist Horace Tapscott (whom he later dedicated a whole album to) and drummer Billy Higgins. When I asked him what it was like being mentored by Tapscott, he was full of enthusiasm in his response and gave a funny anecdote: “Everything that I thought I knew about music, when I heard this guy play for the first time, it just blew my mind in such a way that, everything I knew, had to go, because I’d seen the light! And, it was strange because when I first saw him, he would come to the club where I was performing, and I’d be on stage and he’d be at the door watching. I would close my eyes and sing a few bars, and by the time I’d open my eyes, he’d be gone! He always did this. It was something else, man… and then one day, he told me to come to his house. I showed up and he had all these plans laid out for me to join The Ark (the nickname for the Pan Afrikan People’s Arkestra). And I was stunned because I didn’t think I was ready for all of that. I guess he felt I was.”

Tapscott appointed Trible to vocal director of the Pan-Afrikan People’s Arkestra shortly after, a move that would boost his confidence as a musician and would expand his profile throughout the music scene.

He later had the fortune of meeting the great Billy Higgins, who thrusted him out of his shyness and exposed his immense, unique talents to several giants of the jazz world: Pharaoh Sanders, Bobby Hutcherson, Charles Lloyd, and Mulgrew Miller. Although he and Pharaoh were familiar with each other, their musical collaboration didn’t come until after Higgins passed away. “Higgins was a guy who made everybody that he played with sound better. He had this way of sizing you up really, really quickly. He had this sort of telepathy  where he knew, when you first started playing with you, he could get inside you, find out who you were, and what you needed.  Then he would give you that “thing” to take you over the top. He just had that magic.

That’s why everybody, from Herbie Hancock on down, loved playing with Billy Higgins,” he reflected with nostalgia and deep affection in his voice. He later met the late vocalist Betty Carter, and was impressed by her artistry and professionalism, and would go on to incorporate a great deal of her style in his own singing. “And I would say that’s really it for me. And all the rest is me and the spirit working together, “he says optimistically. This writer could feel the peace he had within himself in his words, brimming with optimism. 

The Leimert Park arts scene in L.A. is a significant part of Trible’s identity and purpose as an artist and community advocate. He has served as the musical director of the World Stage for the past five years and has worked with the numerous grassroots organizations to fight against the threat of gentrification that targets the historic black cultural epicenter of the West Coast. He can often be found performing at the Blue Whale or The World Stage with a stellar lineup of musicians.

When he’s not singing in L.A. he can be found on a trans-Atlantic flight to London, as he recently did to cut a record with Matthew Halsall titled “Inspirations” (Gondwana label), released in June. He travelled across the pond to London to record with Halsall, as well as touring several cities throughout Europe.“Everywhere we went, you know…the people really, really loved it. Every house was completely packed, and there wasn’t a dry eye in the house every time we finished,” he told me when I asked him about the tour.  I can see how that could totally be the case. His voice stirs something inside you when he sings. No matter what language you speak, where you’re from, your age, it reaches you.  Sadly, he’s not well-known here in the U.S. where he has been singing for nearly 50 years.

It is beyond comprehension that he could have sung and collaborated with heavy-hitters such as Kenny Burrell, Harry Belafonte, Harold Land, Patrice Rushen, and Kenny Garrett, yet still be low-profile.  When I asked him his thoughts about this low-profile in the music world, he replied, “Yeah, it’s kinda interesting how I can go over there and probably work as much as I want to, whereas here, in this country, it is probably more difficult for me to get work here than it is over there.”

“It’s kinda sad,” I replied to him solemnly. “A hard time to be an artist. Too many musicians are struggling to find work here and there’s nowhere for them to play anymore. All the venues are drying up because of rising rents for venues and the cost of living for the artists, and widespread gentrification in the places where the music is popular. And the musicians hardly get paid anything on a gig most of the time. It’s a travesty and a great disservice to the music.”

His optimism and beautiful spirit radiated in his reply:

“Well, you know, I don’t look at it as sad really. I just think that it’s just the way things went, and the beautiful thing is, again, every day I get the opportunity to wake up and do what I love to do. And that’s the main thing. So as long as that can happen, I don’t think of any of it as sad. It’s all good, as far as I’m concerned.”

The album title came from the feeling that the world needs inspiration to carry on in these dark times, in the era of Donald Trump and uncertainty, hopelessness, and anxiety felt amongst many people right now. He delivers a spellbinding version of “What the World Needs Now”, a swinging waltz much like the feeling and style of Coltrane’s signature tune “My Favorite Things”. This writer wondered, if he got inspiration from Coltrane to record this song in this manner, with him as a being a major influence on Trible. The addition of a harpist (Rachel Gladwin channeling a bit of Alice Coltrane in this tune) gives the song an ethereal, jubilant feeling that propels your spirit forth into an ocean of good vibes. Trumpeter Matthew Halsall executes a soulful, yet melancholy solo calling for hope and love for humanity through his horn. Trible finishes out the song and takes us to church, getting down and gritty with his gospel-styled ad-libs. He puts his trademark on several standards throughout the album such as “Feeling Good” and “Ooh, Child”, but you will not get bored hearing them again. Dwight put his signature style on each and everyone of them.

There are many vocalists out here singing, yet Dwight Trible stands-out on an island of his own. He’s truly an artist with such versatility that has something for everyone, and plenty to give. He has an ingenuity that is clearly present in his singing… and that radiates from his spirit. He’s not in this for the fame or fortune (if only!!), but in my mind, be a messenger of love and peace, which are common themes of many of the songs he sings.

He broke down his philosophy for me and outlook on life: “From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound, it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And being the most Dwight Trible I can be. And that’s all it is.”    ###          (follow Kristina Mcbride on this blog)

Recommended Listening:

Cosmic- (2011, Katalyst Entertainment)

Living Water- (2004, Ninja Tune)

Inspirations- (2017, Gondwana Records)

Quasimode Sounds of Peace- (2008, Geneon)

http://www.dwighttriblemusic.com

please send into this blog your comments or appreciation for this fine article…Thank you – Publisher

 

CELEBRATING JAZZ APPRECIATION MONTH: PIERCE STREET JAZZ SERIES FREE TO PUBLIC


PIERCE STREET JAZZ SERIES    

Presented by La Sierra University

4500 Pierce St, Riverside, CA. 92505
@piercestreetjazz
Straight Ahead jazz in the Troesh Conference Center, Zapara School of Business at La Sierra University on specific dates at no cost. 
Once a Month , Second Wednesdays… Guest Talent Varies
House Band: Henry Franklin Trio
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Charles Owns Tenor sax

Kirk Lightsey

Noland Shaheed

SOUL SAUCE ~ CAL TJADER LATIN JAZZ LEGACY BAND


posted by Robert J. Carmack   #blues2jazzguy

Soul Sauce Group Pics C NOW

Soul Sauce: l-r shown – Pablo Calagero, Ross Schodek,Peter Burke, Bryan Valasco, Rafael Feliciano, Don Littleton, Andrew Acosta

It’s not everyday you can jump in your car and drive to a spot, then wind up in the middle of the 1960s jazz scene Los Angeles.                  Back then you could still catch great latin jazz bands coming through like Cal Tjader, Mongo Santamaria or Tito Puente.  Well.. maybe I didn’t wind up in the middle of the 1960s, BUT, I had the next best thing..I drove to Roscoe’s Seabird Lounge in Long Beach where I was able to experience the Cal Tjader legacy band, Soul Sauce.Right now this group of heady musicians are keeping the Latin Jazz legacy alive with a “no-nonsense” or frilly over-produced electronic sound presentation..Working directly with the Cal Tjader songbook, Soul Sauce is conjuring up the hey-days of the Hollywood Palladium or the Lighthouse jazz cafe in the early to late 1960s. Toss in a large group of  fun people who love old school latin dancing of Cha-Cha-Cha, Mambos and Boleros. It’s a great recipe for a fun-filled evening, complete with all the appropriate cocktails.(try the Golden Cadillac Margaritas)

I first saw the group at the LA County Art Museum with special guest saxophonist, Justo Almario.  Group spokesman, Don Littleton told me, the group had not played the club for a couple of years or so, “I thought it would be a great spot to come in on Sunday afternoons from 5-9pm, a perfect time for “Angelenos” looking for a place that’s fun, has live music and, you can dance to it.”

Members in the Band are Peter Burke Vibes, Bass Ross Schodek, Rafael Feliciano on Timbales/Conga, Bryan Valasco Piano/Keyboards, Don Littleton on Trap Drums, Conga, Bongos & Timbales. Special Guest players, Pablo Calogero Sax/Flute and  Andrew Acosta – Conga, assorted Percussion.

Soul Sauce E NOW

Band spokesman, Don Littleton Congo solo out front with Andrew Acosta in background

Currently the Soul Sauce Band is playing on Sundays afternoons at 5pm until 9pm at Roscoe’s Seabird Lounge 730 E Broadway, Long Beach, CA 90802 (562) 522-8488               Call for the performance schedules or go to website~ http://www.seabirdloungelbc.com

 

 

 

PATRICE RUSHEN & CARMEN LUNDY HIGHLIGHT 39TH ANNUAL WATTS TOWERS JAZZ FESTIVAL


posted by Robert J. Carmack  #@blues2jazzguy

Patrice Rushen and Carmen lundy

file photo by Robert Carmack Patrice Rushen & Carmen Lundy shown at Ford Theater Hollywood

Once in a lunar eclipse weekend you might get some pretty good entertainment in selected spots around Los Angeles, but to get great jazz, that requires planning ahead and research. for the last 39 years , in an unlikely area of south central Los Angeles wedged between a Junior high school , railroad tracks, some proud residents, and a Los Angeles landmark , built by an immigrant, Simon Rhodia of concrete, steel and broken glass.

The Watts Towers Jazz Festival took its familiar bow September 26 & 27th . The festival features a “Day of the Drum“, with supporting activities of all cultures and ethnicities celebration of drums, throw in Jazz from around the world by local, regional and international musicians performing on a live stage that looked like a revival tent. This writer had planned in advance to get there in time to catch Carmen Lundy & Patrice Rushen performing as single acts , but also together as well.

carmen Lundy

carmen Lundy

Carmen took the stage with her own group featuring her iconic bassist and brother, Curtis Lundy. After a couple of hot jazz numbers , Carmen called up Patrice to sit in with her group on  selections from  her 14th new CD as a leader. Rushen was simply stellar in her improvisations on cuts like “Life is a Song in Me” and title track, “Soul to Soul”. In my humble opinion , this is Grammy material. grab a copy at your usual source for purchasing   music online.

Patrice Rushen  and Ndugu are both products of the Watts community ,while being alumni of Locke High school under the mentorship of musician /Educator Reggie Andrews.  Patrice and Ndugu fronted an all-star band of Nedra Wheeler on Bass and Justo Almario on saxophone, Munyungo Jackson on percussion. In their set they chose to celebrate the genius of several iconic jazz masters, John Coltrane, Thelonious Monk and Horace Silver, and a couple of others to the audience’s delight. 

Chuk Koton- Patrice Rushen

photo by Chuck Koton

Weekend’s events were beautifully MC’d by Jazz program host James Janisse, and Poet Laureate and Griot ,Kamau Daood.

Jazz drummer Fritz Wise, Poet/Jazz griot Kamau Daood with Music journalist Robert J. Carmack

Jazz drummer Fritz Wise, Poet/Jazz griot Kamau Daood with Music journalist Robert J. Carmack @ Watts Towers Jazz Festival photo by Joyce Wilson

hand made Quilt made by artist, Ramesses

hand made Quilt made by artist, Ramesses

Patrice Rush NOW WATTS

SAXOPHONIST DALE FIELDER RETURNS TO HERB ALPERT’S VIBRATO GRILL JAZZ


by Robert J. Carmack   #blues2jazzguy

The MAN and his GOLDEN HORNS

The MAN and his GOLDEN HORNS

Coming Saturday October 3 2015 9PM

DALE FIELDER with PAT SENATORE TRIO at Herb Alpert’s Vibrato Grill Jazz
2930 N Beverly Glen Cir, Los Angeles, California 90077

The Players:Dale Fielder saxes, Tom Ranier, piano
Pat Senatore bass, Ramon Banda, drums

Check out some vintage Dale Fielder music
1993 Free Flow – Clarion Jazz
1994 Know Thyself – Clarion Jazz

1995 Dear Sir: Tribute to Wayne Shorter – Clarion Jazz

1996 Ocean of Love and Mercy: A Passion Suite-Cadence Jazz
2000 Romance Serenade – Blueport
2002 The Hipster -Clarion Jazz
2003 Howling Monk – Clarion Jazz
2004 Suite: Clarity – Clarion Jazz
2005 Baritone Sunride – Clarion Jazz
2007 Dale Fielder Quartet Plays the Music of Pepper Adams
Dream Dancing: Live A Divine Union-Clarion
Stellar Moments – Clarion

http://www.dalefielder.com http://www.clarionjazz.com http://www.dalefielderactivities.com http://www.frugalapathy@blogspot.com
Press Contact
info@dalefielder.com